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PSYCHOTRONIC™ 
number fifteen 

SPRING 1993 

PUBLISHER/EDITOR 

Michael J. 'Weldon 

ASSOCIATE PUBLISHER 

Mia Weldon 
ART DIRECTORS 
Fred Brockman I Akira Fitton 
COVER 
Fred Brockman 

| PUBLICITY CONSULTANT 

Gary Hertz 

WRITERS THIS ISSUE 

Edouard Dauphin , Anthony 
Petkovich , Derek Johnson, 
Chris Davidson , Marc Isted, 
Bal Croce, Ian Johnston, Art 
Black and Dale Ashmun 
PROOF READING 
I Frank Uhle/Thom Unterburger 
ORIGINAL ART 
Drew Friedman, J. D. King, 
Ken Weiner, Mia Weldon 
and Dan Clowes 
ADDITIONAL RESEARCH 
Louis Paul 

PHOTO RESEARCH 

Mike Bloom 

I ENTIRE CONTENTS COPYRIGHT© 
B PSYCHOTRONIC VIDEO - 1993 
ALL RIGHTS RESERVED 
PSYCHOTRONIC IS A 
TRADEMARK OF 
MICHAEL J. WELDON 
ALL MAIL TO: 
PSYCHOTRONIC VIDEO 
3309 RT. 97 
NARROWSBURG, N.Y. 12754-6126 
PHONE (914) 252-6803 
FAX# (914) 252-3905 


A NTONIO FARGAS, an actor known to millions as Huggy Bear, is such a 
good actor that many people thought he really was a pimp, a junkie, or 
a streetwise informant for STARSKY AND HUTCH. A serious actor with a 
Caribbean background, Fargas started in underground NYC movies and 
later stole scenes in many black action hits from SHAFT to FOXY BROWN. 
We received two different interviews with him (which have been combined). 
Anthony Petkovich and Derek Johnson in California provided the bulk of the 
interview, but Chris Davidson (in Stamford, CT) talked to Fargas (and sent 
in his interview) first. 

J OHN VERNON was the Dean in ANIMAL HOUSE and remains a 
favorite bad guy with a distinct deep voice in countless exploitation 
movies. He was in classics like POINT BLANK, DIRTY HARRY and the 
scandalous SWEET MOVIE. Vernon is also a major TV star in his native 
Canada, where he was WOJECK, the original crusading coroner in a show 
that QUINCY later copied. Like Fargas, he’s a senous actor who can be very 
funny. Canadian Ian Johnston also interviewed Russ Tamblyn (PV# 8) and 
Roberts Blossom (PV #14). 

H ARRISON MARKS was the Irving Klaw of England, providing “the kind 
of pictures men like” in the 50s. Marks was frequently busted for taking 
and selling (airbrushed) nude photos of women. He also made many mail 
order nudie shorts, worked on PEEPING TOM and directed 5 features. His 
DODular NAKED AS NATURE INTENDED starred his main model the 
gorgeous Pamela Green. London’s Marc Isted also did the incredible Tura 
Satana interview (PV #12) and he and Bal Croce contributed to our A. L. 
Stephens interview (PV #8). 

P ETER JACKSON, a clever young guy from New Zealand, has only made 
three features, but all of them are unique and controversial cult hits. 
BAD TASTE was followed by (MEET) THE FEEBLES, a hilarious, sick 
feature with an all puppet cast. The recent gore comedy DEAD ALIVE 
(BRAIN DEAD) enjoyed an unrated U.S. theatrical release. Edouar 
Dauphin was the “Drive In Saturday" movie reviewer for the original 
Detroit-based Creem magazine and he did the Robert Wise interview back in 
PV #2. 

\7es, it’s true, we have moved. The NEW ADDRESS for _ all 
1 PSYCHOTRONIC mail is 3309 Rt. 97, Narrowsburg, New York, 12754 - 
6126. The NEW PHONE number is (914) 252-6803 and we now have a 
permanent FAX: (914) 252-3905. We closed the PSYCHOTRONIC store after 
the holidays. Mia and I will miss meeting so many people there, but we can 
now offer good stuff to more of you through the mail. See pg. 21 tor 
more info. 


PSYCHOTRONIC • 2 




CHARLES BOMS 

LAUGHTON KARLOFF 

SAUY FORREST - RICHARD STflPLEV 


F red Brockman (from Cincinnati) helped get this magazine started and 
has been almost totally responsible for the great covers and layout of 
each issue (which, up to #13, were assembled in his Hoboken home). Fred 
opened Snack Time studio in Hoboken last year and soon ran out of any 
spare time. He has recently recorded and/or produced many bands 
(including Yo La Tengo, Mosquito, Lovechild, Sleepyhead and Mothra.) His 
maximum input will be missed, but he did this cover and another friend will 
be the new art director. This issue was co-designed by Akira Fitton. I’ve 
known Akira since the early 80s when the PSYCHOTRONIC TV guide was 
published every week (!). He and Fred both worked on that project too. Akira 
used to devise ad campaigns for exploitation movies! 

V ideo Vault, a frequent advertiser, was closed briefly because of I.R.S. 

hassles, but they’re back. Marshall Discount Video, a company I 
recommended in the past, has gone out of business. And speaking of out of 
business, Gorezone, which I wrote for awhile before starting 
PSYCHOTRONIC, has ceased publication. Fangoria (now in its 14th year) is 
still around. The big news around here, though, is that my publisher 
(Pharos) no longer exists! Some greedy corporate raiders bought the 
company for The World Almanac, and promptly closed it down. Pharos had 
just started production on the new PSYCHOTRONIC book and the cover 
was done. We hope to announce a new publisher and pub date for the book 
(tentatively called The Psychotronic Guide To Video And Film) soon. The 
1994 PSYCHOTRONIC calendar will now be published by St. Martins. 

H ey you video companies out there! Send review tapes! These companies 
have been the best for sending tapes: Something Weird is the best 
company for old “adults only” features. David Freidman, Frank Henenlotter 
and Johnny Legend are all presenting series of videos for the company. 
Video Search Of Miami is busy subtitling an incredible number of rare 
foreign language tapes into English. Sinister Cinema has many older 
PSYCHOTRONIC tapes and is branching out to offer Spaghetti westerns. 
All three companies have extensive, always growing catalogs. Also thanks to 
Fox Lorber, Rhino, Raedon/PM, Cinema Home/Tempe and AIP. 

S eeing the 42nd St marquees for the filming of LAST ACTION HERO was 
a jolt. They mixed real (CAMP ON BLOOD ISLAND, SCREAMING 
MIMI, CURSE OF THE DEMON) with made-up (HEAD CRUSHER, SEX 
AND BLOOD, and BLOOD, BLOOD, BLOOD!) titles. The posters were all 
for Troma movies! Receiving U.S. Mail has gotten more fun lately - because 
of the stamps. Besides (young) Elvis you can buy REAR WINDOW star 
Grace Kelly, The Year Of The Rooster (with Chinese characters), stamps 
with pink flamingos (what’s going on here!?) and a great series of 30s Flash 
Gordon style space ships! And Robert DeNiro is going to play the 
Frankenstein monster!? 


PSYCHOTRONIC™ 
NUMBER FIFTEEN 
SPRING 1993 

THANKS TO: Antonio Fargas, 
John Vernon, Harrison Marks, 
Peter Jackson, Eric Caiden, 
Larry Cohn, Frank Henenlotter, 
Mike Mayo (Roanoke Times), St. 
Martins Books, McFarland 
Books, Barry Monash, Steve 
Kramer, Randy Johnston (Film 
Experience), Keith Cornell, 
Mitch O’Connell and Chris 
and Debby. 

DEDICATED TO: America’s 
surviving Drive-ins 

COVER: Angela Mao in DEEP 
THRUST THE HAND OF 
DEATH (AIP) 

BAND death tolls. These are 
some of the groups who have 
lost 2 or more members. 
Readers will undoubtedly think 
of some more. 

4 - Barkays. 

3 - Byrds, Grateful Dead, New 
York Dolls, Lynyrd Skynyrd, 
Temptations. 

2 - Allman Brothers, Badflnger, 
The Beatles, Bob Marley 
And The Wailers, Bobby 
Fuller Four, Butterfield 
Blues Band, Canned Heat, 
The Dominoes, Elvis, Scotty 
and Bill, Fairport 
Convention, Mar-Keys, 
Marshall Tucker Band, 
Platters, Pretenders, The 
Rock ‘n’ Roll Trio, Rolling 
Stones, The Stooges, The 
Teenagers, T. Rex., Gene 
Vincent And The 
Blue Caps. 


PSYCHOTRONIC • 3 



PAPA 

I’ve been on a quest for years now to locate as many versions 
of “Surfin’ Bird” as possible. I never realized its true cult 
status in the underground until I noticed all the letters in your 
magazine. Seeing the great Paul Reubens sing it as Pee Wee 
Herman in BACK TO THE BEACH certainly didn’t hurt the 
fact either. - Dan E. Eldridge Jr. (Pittsburgh). 

On Valentine’s Day. the Rivingtons (three of them anyway) 
were lip-synching “Papa Ooom Mow Mow” to a sparsely 
populated sub-Dick Clark dancefloor on Dancin’ To The 
Oldies (Nostalgia Channel). The hostess, the original MTV 
jock with the badly permed hair asked Rocky what “Papa” 
was about. He described a guy standing outside a high school 
and trying to get himself noticed. The hostess then started 
treating him like he was nuts and tried to get on with the 
show. Fortunately, Rocky grabbed the 
mike and began to sing “Mama Oom 
Mow Mow,” live and acapella! The 
strangely dressed singles’ bar dancers 
went nuts! Most uplifting - Richard 
Henderson (L.A.) 

I was once in a band called Shakin* 

Stevens and The Sunsets and we did 
“Surfin Bird/The Bird’s The Word” 
live at Swindon Polytechnic (kind of a 
high school) circa 1974 with the bass 
player on lead vocals. It got dropped 
because Stevens didn’t like other guys 
singing lead and the song was too 
much for him. - Paul Barrett 
(Penarth, South Glamorgan, Wales.) 

A pal from Costa Rica played me a 
tape by a group from Spain called El 
Hombres G (The G Men). They’re a 
mass appeal teen band, but during one 
of their upbeat numbers, they kick 
into a guitar solo while a bass voice 
Papa Oom Mow Mows! Papa unites 
the world in a way that Live Aid and 
“We Are The World” can only dream 
of - Keith Bearden (Seattle). 

As an Easterner who went to college in Ohio and married a 
Clevelander, I admire the high regard that average Ohioans 
hold for Fritz The Night Owl, Ghoulardi and The Ghoul. 
Chiller Theater never had it so good! I’ve also learned a 
foolproof way to judge the character of an Ohioan: query 
him/her about the above mentioned folks, as well as Big 
Chuck and Houlihan/Little John and Jungle Larry. If you get a 
blank stare or a disdainful response in return, that person’s not 


worth your time! - Peter R. Terhune (Somerville, MA). 
These TV celebs were all based in Cleveland except for Fritz 
(Columbus). 

BRAD DOURIF 

Although Brad Dourif was dispensed with early on in 
HIDDEN AGENDA, this conspiracy theory political thriller is 
itself noteworthy. Dourif can feel proud to be involved in a 
film by one of England’s bravest filmmakers, Ken Loach. 
HIDDEN AGENDA also boasts a fine commanding 
performance by Brian Cox, the man who WAS Hannibal 
Lecter in MANHUNTER. - Gary Pye (Walmley, Sutton 
Coldfield, W. Midlands, England). 

A friend and I sometimes pick up a video and go, ‘Brad 
Fuckin Dourif’s in it?!’ Terrific actor, great interview! - 
Gerard Ashworth (Queenscliff, NSW, Australia). 

Excellent idea to interview Dourif - a 
very underrated figure. - Tony 
Williams (Ass. Prof. Film Studies, 
Southern III. U. at Carbondale). 

I’ve only become a Brad Dourif fan 
fairly recently (since seeing SONNY 
BOY), but I’ve enjoyed him in 
everything I’ve seen. However, I still 
don’t know whether I’d be able to sit 
through any of the CHILD’S PLAY 
movies. Incidentally, you refer to 
Dourif as “our second Oscar nominee 
interview (after Susan Tyrrell),” but 
Russ Tamblyn (PV #8) was also 
nominated. - Erich Mees 
(Dunwoody, GA). 

GUYANA TRAGEDY (VC2) has 
been out on video for a while. - 
Robert Plante (Schenectady, NY) 

SPOOK SHOWS 

Jim Ridenour’s “Spook Show 
Racket” was an amazing piece. 
Excavating stuff like this is a major 
archco-aesthetic dig and nobody else 
is doing anything like it. Everyone involved in getting this 
article out deserves a round. - Gene Sculatti (Billboard 
magazine, L.A.). For still more see our followup on spook 
show hustler Donn Davison on pg. 42. 

This Jim Ridenour has a strange mixture of a little self 
deprecation and lots of audience contempt. Well, maybe not 
strange, but his was not a career I’d feel esp. proud of. I did 
like the line about “East Awful.” I was about to mention the 



PSYCHOTRONIC • 4 





co-writer credit typo (MJM?), when I glanced back at pg. 2 
and saw: “Proof Reeding.” OKAY I GIVE UP! I’ll never 
bother to complain again about typos. - Hugh Shelton 

Phillip Morris was also a TV horror host as Dr. Evil, in 
Charlotte, NC, and is now a licensed distributor for the 
Batman costumes. J. G. (Pat) Patterson's film DR. GORE was 
partly shot around Charlotte. - Glenn Hinceman (Fort Mill, 
South Carolina). 

A live spook show was an added attraction to TWO ON A 
GUILLOTINE in NYC movies houses in 1966. The show 
starred “Dr. Guillotine” and featured the decapitation of an 
audience member and a lot of bad jokes (“Who were you 
expecting, Ringo Starr?”). - Gary Weintraub (NYC). 

I loved the article on Spook Shows. I still have a copy of the 
ad on pg. 36 that I cut from a newspaper in the early 60s. I 
desperately wanted to go see “Prof. Zomby,” but my parents 
wouldn’t take me. Guess they were right.- Chet Williamson 
(Elizabethtown, PA). 

I recall as a child in the early 60s going to a movie with my 
sister and her friends. 1 vaguely 
remember females on screen being 
terrorized by a mad scientist and his 
monster minions. At the appropriate 
moment, the costumed characters 
came out from behind the screen and 
made their way up the aisles. The 
scientist flipped an ordinary 
flashlight off and on. Most of the 
theater's patrons fled screaming into 
the lobby, me included. I now 
wonder if this was MONSTERS 
CRASH PAJAMA PARTY. Thanks 
for dredging up this memory from 
the darkened recesses of my mind. - 
Stephen Bragg (Huntsville, 

Alabama). 

ROBERTS BLOSSOM 

I wondered how the hell you could 
do an entire interview with “the guy 
from DERANGED,” but his 
filmography listed a fistful of 70s 
movies I enjoyed., and I immediately 
knew which characters he'd played. 

CITIZENS BAND: “And the dog 
dies!” and CLOSE ENCOUNTERS: 

“I seen Bigfoot once.” - Hugh Shelton 

Roberts Blossom’s presence made HOME ALONE and DOC 
HOLLYWOOD tolerable for me. - Erich Mees. DERANGED 
is finally being officially released on tape (uncut) by Moore 
Video (see ad). 

TIMOTHY FARRELL 

I’d like to know what movie they were filming on pg. 23. - 
Hugh Shelton. That's from PIN DOWN GIRL and the blonde 
on the rear hood is the fabulous Peaches Page. 

I loved Drew Friedman’s portrait of Timothy Farrell. I think 
I’d enjoy more covers by Friedman in the future, but then, I 
wouldn’t want to do away completely with using classic 
movie poster images on the covers. - Erich Mees. 

The original title for PLAN NINE was “Grave Robbers From 
Outer Space,” not “Graveyard From Outer Space” - Mike 
Deckinger (San Francisco) This and other stupid factual 
errors (Ed Wood was not in VIOLENT YEARS!) were mv fault 
and not Rudolph Grey's. Rudolph also doesn't think 
UNTAMED WOMEN is " incredible ." He says "wretched 


might be a better w ord." 

I can understand you wanting to add information on my 
father’s political career, but the last paragraph of the article is 
incorrect . Other than that, I thought Rudolph’s intensive 
research paid off with his well written article about and tribute 
to my dad! Thanks very much for printing it!- Timmie Sperl 
(L.A.) Rudolph Grey would like everyone to know • that I 
added the ending about Farrell's felony conviction to his 
interview , not him. I got the info from Variety. The L.A. Times 
added - "In his own defense , Sperl (Farrell) contended that 
his indictment was politically motivated and that members of 
his staff were coerced into testifying against him. His 
attorney, Paul Caruso, charged that people in Sperl' s office 
wanted the marshall job." Meanwhile, we hear that Rudolph's 
Ed Wood book (PV #12) was optioned by Tim Burton and the 
makers of the planned Ed Wood movie. Martin Landau is 
going to play Bela Lugosi! 

OTHER INTERVIEWS 

It seemed odd to me that the Jack Hill filmography included 
films featuring footage from THE TERROR. I’ve never seen a 
D. W. Griffith filmography which 
listed all the movies containing 
footage from ONE MILLION B. C. 
(it would be a great list to see, I 
admit, but I think you get the point). 
By the way, DEATHSTALKER II, 
and, as you pointed out in your 
review, SILENT NIGHT, DEADLY 
NIGHT III also include TERROR 
footage. The “revised” version of 
THE TERROR is called THE 
HAUNTING (sound familiar?). - Bob 
Sheridan (Culver City, CA). 

Wanting to make a point, but not 
“hit” Niciphor, David Carradine 
jumped in the back seat of the car, 
leaned over and put his fist into the 
windshield. I was in the back seat 
also. - Gary Graver (Zagreb, 
Croatia - (/) 

The great Wings Hauser (PV # 3) is 
now appearing on ROSEANNE as a 
member of Dan O’Connor’s poker 
circle. I expected him to get into an 
argument with Dan (John Goodman) 
and pull out a pistol, but Wings only sat there, speaking a 
word or two, studying his cards and looking intelligently 
ferocious. - Jeffrey P. Zaleski (Kirkus Review, NYC). Yes , 
Hauser is a semi-regular on that very popular show, because 
the stars are fans of his. 

The Zalman King interview states that Edward G. Robinson’s 
last role was in NEITHER BY DAY OR NIGHT, yet several 
sources (including the PSYCHOTRONIC ENCYCLOPEDIA) 
list SOYLENT GREEN as his last. - Steven Knight (L.A.). 
SOYLENT was Robinson's last acting role. 

Inspired by the Jose Mojica Marins article in PV #5, I bought 
a copy of ESDTA NOITE ENCARNERE NO TU CADA VRE 
from Video Search of Miami. My reaction was “Wow!” This 
is something all PSYCHOTRONIC film fans should see. The 
“hell” sequence was unbelievable. - Joey Anstett 
(Gaithersburg, MD). Several sources have announced 
English subtitled (!) Marins tapes. We'll keep you posted. 

Did any of you catch the Julie Adams interview in a recent 
issue of Film Fax and think it looked familiar ? It was 
basically the interview from PV #5, which l edited and 



Wings Hauser in DEADLY FORCE 


PSYCHOTRONIC • 5 


provided questions and info for. Other interviews in Fax were 
originally from Midnight Marquee and other zines. I like Film 
Fax, but they should stop reprinting articles - and not even 
giving credit to the sources! 


REVIEWS 

The Ladybirds (from WILD WILD WORLD OF JAYNE 
MANSFIELD) once guest starred and sang on PETTICOAT 
JUNCTION. I remember that they were very clean cut, 
Gidgetty All-American Girl types. When I later learned that 
they’d gone topless I was quite scandalized. - Michael Will 
(Montreal, Quebec). 

As you wrote, LUCKY GHOST was more than probably a 
follow-up to MR. WASHINGTON GOES TO TOWN, but 
you forget to mention another film in the same scries. The 
more famous PROFESSOR CREEPS, directed in 1940 by 
William “One-shot” Beaudine, with the same principals 
(Mantan Moreland, F.- for Floumey- E. Miller and Florence 
O’Brien) as the same characters. Your notice about THE 
DEVIL’S MESSENGER seems to assume that Lon Chaney’s 
scenes were added to a pre-existing Swedish TV series. Lon 
Chancy was in Sweden and hosted the entire series. The “sale” 
title of the series was 13 DEMON 
STREET and apparently 13 segments 
were filmed. You are right about the 
different running times of THE 
HANDS OF ORLAC/LES MAINS 
d’ORLAC. The rumor about two 
different casts seems utterly 
inaccurate, as I have the French 
version (with Christopher Lee 
speaking in French - very fluently) 
and all of the British actors are in this 
version, including Donald Wolfit as 
Prof. Volcheff. - Jean-Claude 
Michel (Saint-Ouen, France) 

Moreland and Miller also co-starred 
in MANTAN RUNS FOR MAYOR , 

SHE’S TOO MEAN FOR ME, 

HARLEM ON THE PRAIRIE and 
RETURN OF M ANDY’S HUSBAND 
together. 

K. Gordon Murray had yet another 
violent, sex, swamp opus called 
FUGITIVE KILLER. - Fred Olen 
Ray. The SHANTY TRAMP song 
and radio ad are available on the 
“Teenage Riot” LP from Norton. 

What a sleeeazy piece o’ work that flick is! - Brian D. 
Horrorwitz (Silver Spring, MD). SHANTY TRAMP was 
distributed by Murray’s Trans -International, then Kroger 
Babb (KNB), then Jerry Gross (Cinemation), so it was in 
circulation for years. The tape is from Something Weird (as 
are SIN SYNDICATE, PASSION IN THE SUN and ON HER 
BED OF ROSES, all reviewed last issue). 

I’m glad that you appreciated Traci Lords acting in A TIME 
TO DIE. I know from being in, on and around NOT OF THIS 
EARTH that she was thoroughly professional, but TTD proves 
that she’s got real talent. It also struck me that Jeff Conaway 
should brush up on his English accent and guitar playing - 
he’s obviously ready to do the title role in THE KEITH 
RICHARD(S) STORY. - Bob Sheridan (Culver City, CA). 

The leader of THE BLACK GESTAPO is none other than 
Charles Robinson of NIGHT COURT fame. - Devin Zelazny 
(Sante Fe, New Mexico). Robinson, from Houston was once 
with Archie Bell And The D re l Is, so he can probably dance as 
good as he can walk. He also had a role in SUGAR HILL 


(74). He’s Mac Robinson, the court clerk on NIGHT COURT. 

I was shocked that you didn’t realize what a mondo movie 
MONDO HOLLYWOOD is. In Ed Sanders’ book “The 
Family,” it states that the film features both hairstylist Jay 
Sebring (killed with Sharon Tate in *69) and Bobby 
Beausoleil, a Manson family member. Sebring also appears 
(uncrcditcd) in the BATMAN episodes “Cat’s Mcow/Bat’s 
Kow Tow,” playing a hairstylist named Mr. Occanbring. - 
Dennis Reiter (Belvidere, IL). 

As usual, PSYCHOTRONIC remains the best thing printed on 
paper in the US (besides money), “but,” the director of 
NAKED OBSESSION is Dan Golden (not Goldberg) and he 
didn’t make NO NUKES. - Fred Olen Ray. The stripper that 
teaches William Katt about Oxygen deprivation is not black, 
She’s blonde Maria Ford. - Scott Wilkerson (Princeton, 
Indiana) Ford, a regular in Roger C orman productions since 
DANCE OF THE DAMNED, can also be seen in tapes like 
DEATHSTALKER IV and STRIPPED TO KILL II. 

Scott Spiegel directed THE NUTTY NUT, not Josh Becker 
(LUNATICS...) Spiegel got fired and replaced by Adam 
Rifkin, who also got fired. - Spence (Psychotic Reaction 
Magazine, Birmingham, England.) 

Is Pat Barrington (ON HER BED OF 
ROSES), the same Pat Barrington 
from ORGY OF THE DEAD (and 
MONDO TOPLESS)? - Brad 
Westwood (Aurora, III). Yes, 
Barrington (or Barringer) was also 
in MANTIS IN LACE, SISTERS IN 
LEATHER, THE AGONY OF LOVE 
and other 60s movies. 

MANIAC WARRIORS was originally 
on Canadian pay TV in 89 as 
EMPIRE OF THE ASH II. NO 
JUSTICE was filmed in Tennessee 
(not Georgia) and is available in 
Europe. Director Richard Martin has 
a new feature called DEMENTED 
featuring Angela Bowie (!) and 
Michelle Bauer. 

The “Chiller Theatre” opening in my 
documentary FLYING SAUCERS 
OVER HOLLYWOOD is, alas, not 
the original, but its colorful 
successor. The b&w original (I tried 
my damnedest to get ahold of it) was a 
series of shots from PLAN 9, KILLERS FROM SPACE, THE 
CYCLOPS..., all edited to to some great hokey horror muzak. 
- Mark Patrick Carducci (Hollywood). 

It’s funny that you should suggest a double billing of GIMME 
SHELTER and NIGHT OF THE LIVING DEAD, since I saw 
this very pairing back around 1970! It was at the Studio One 
Theatre (formally The Arcade) in Lynbrook. This was not a 
midnight show, but a standard one week booking. At the time, 
the audiences for these films seemed mutually exclusive; I got 
the impression that I was the only one of the very few patrons 
who actually wanted to see both pictures. - Bob Sheridan 
(Culver City, CA). 

I worked on CLASS OF NUKE ‘EM HIGH: SUBHUMAN 
MELTDOWN, so you can believe me when I tell you that was 
not Howard Stem you think you saw. Also, the giant squirrel 
wasn't animated, it was a special effects technician in a suit. - 

Chris Houghton (Brooklyn). 

Frank Henenlotter’s assumption that the same director made 
SATAN’S BLACK WEDDING (PV #13) and CRAZY FAT 



Pat Barrington in THE AGONY OF LOVE 


PSYCHOTRONIC • 6 



KILLERS FROM SPACE as seen in the opening of 
CHILLER THEATER 


ETHEL II is correct. However it is neither “Phillip Miller,” 
nor “Nick Phillips” who deserves the credit. Both names are 
pseudonyms for Steve Millard, son of legendary showman S. 
S. “Steamship” Millard. Steve Millard founded Irmi Films in 
68 with his wife. In 73, CRIMINALLY INSANE was 
produced by his mother, Francis Millard, and written, directed 
and marketed by Steve. SATAN’S BLACK WEDDING was 
cheaply filmed in 74. - Randy Johnson, Film Experience, 
Oklahoma City, OK. 

HIGHWAY 61 has been released in America by Paramount . 
WELCOME TO THE JUNGLE (PV411), by Michael P. 
Bennett at 1562 First Ave., HI 41, NYC 10028 is now $19.95. 

OBITS 

About the last thing Anthony Perkins did as a performer was 
to (almost) host HEARTSTOPPERS, a documentary on horror 
films aired around last Halloween. Perkins had shot a 1/2 hour 
promo at Forry Ackerman’s home. He got into a slightly 
caustic debate with Forry over the correct pronunciation of the 
word “macabre.” Perkins insisted on pronouncing it “ma-cob- 
er.” Unfortunately, he passed away a couple of months later, 
and when the producers had raised the money they needed via 
syndication presales, they shot it with George Hamilton (!). - 
Mark Patrick Carducci. 

A special fund has been established in the late Steve Arron’s 
name at the American Film Institute to create a grant for a 
special filmmaker to produce a Psychotronic type film. - Arny 
Schor (VP, Rhino). Arron, with Rhino Video for 5 years, died 
from cancer in February. 

A surprising number of readers wanted to know how Regina 
Carrol and Angelique Pettyjohn died. They both had the big C. 

BOOKS 

The “Spaghetti Western” book from McFarland is indeed 
impressive, but the statement, “unlike some McFarland books 
that are just for hire jobs,” seems to imply that authors get 
paid to write for McFarland. To the best of my knowledge, all 
McFarland authors are royalty only writers. I would assume 
that most, if not all, McFarland authors write their books as 
either a hobby or as a labor of love. - Fred Olen Ray. What I 
meant to imply is that author seemed to know about and care 


about his subject, as opposed to a few McFarland books Eve 
seen where the authors simply presented recycled data. As you 
can see (below), others don’t agree. 

The McFarland book, “Spaghetti Westerns” looks nice and 
a ppears to be comprehensive, but it shamelessly shovels mis- 
information in heaping quantities! Mr. Weiscr iS inept on the 
subject. Your book review marred an otherwise excellent 
issue. - Carl Morano (Video Confidential, N. Bergen, NJ). 
In a long review of this book in Westerns All’ ltaliana! 
magazine (Fall, 92), Eric Mache calls it “an abomination .” 

In the review of “Rock N Roll Roadtrip” you say that 
Cleveland’s Music Hall has no more rock shows. Wrong! I 
attended the Ramones show in Oct. of 92. - Peter Bell 
(Cleveland). 

ETC. 

Films shown on Melbourne TV recently include: BRAIN 
DAMAGE (the uncut version), BRAIN THAT WOULDN’T 
DIE (full version), lots of old and new vampire films, Larry 
Buchanan’s trio of famous remakes, 60s biker and LSD films, 
PORTRAIT OF TERROR and a beautiful, clear copy of 
DERANGED. Not bad for a city with only four commercial 
channels and no cable. - John Harrison, Strait-Jacket zine, 
(Berwick, Victoria, Australia). 

I toured Graceland wearing my PSYCHOTRONIC T-shirt! - 
Nicholas McCarthy (S.U.N.Y. Purchase, NY). Quentin 
Tarrentino wore his while being interviewed on TV about 
RESERVOIR DOGS last year. We’ll be offering new 
PSYCHOTRONIC shirts through the mail soon. 

If DON’T LOOK IN THE BASEMENT was filmed on Long 
Island, I’d like to know where! THE FLESH EATERS, 
SANTA CLAUS CONQUERS THE MARTIANS and 
FRANKENSTEIN MEETS THE SPACE MONSTER were 
filmed here too!- Lance Lurie (E. Northpoint, NY). DON’T 
LOOK IN THE BASEMENT was made in Texas, but LAST 
HOUSE ON THE LEFT, which it was sometimes billed with, 
was filmed on Long Island. 

Another apology to Cape Copy Center for running their ad 
panels out of order last issue. And Markalite - The Magazine 
Of Japanese Fantasy is still around. Our payment problem 
with their publisher was resolved long ago and #5 should be 
out by now. The subscription address is PO Box 23651 , 
Oakland, CA 94623. 



THE FLESH EATERS were from Long Island! 


PSYCHOTRONIC • 7 








Hlim 


Now Playinjf— One of the most powerful 
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SATAN” i* now plivrnjc on Bro..Jwav New Yoik at 516* top. Here 
Middletown, matinee. 15 and 30c . evening* 15 and 40c - - - - Added nttracUom 
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SILENT HORROR 

SORROWS OF SATAN (Fright, 25) P/D D. W. 
Griffith, S Forrest Halsey 

A writer in a boarding house (Ricardo Cortez) says 
“I’d sell my soul for money,” so Prince Lucio/Lucifer 
(Adolphe Menjou, in formal wear and top hat) arrives 
(while lightning flashes) to oblige. The slow going 
silent has several worthwhile scenes. It opens with 
winged angels cast down to become black demons. 
The shadow of Lucio becoming a giant winged demon 
is very impressive. There’s also an elaborate stage 
show with frolicking maidens and horned men. With 
Carol Dempster (in her last role) as the woman who 
loves the writer and Lya de Putti as the sexy Russian 
exile temptress Olga. The Paramount release 
(originally planned for Cecil B. DeMille) was filmed 
at studios on Long Island. It’s based on a novel by 
Marie Corelli that had already been filmed twice, in 


England and Denmark (by Carl Dreyer). SORROWS 
was not a hit and was considered “too gruesome” by 
critics of the day. The print is excellent and has a 
musical score. 


THE MAGICIAN (Fright, 26) P/D/S Rex Ingram 

The great German star Paul Wegener is Oliver 
Haddo, a caped alchemist/hypnotist in France. He has 
a remote castle known as “the sorcerer’s tower” with 
an elaborate mad lab and a dwarf assistant. Haddo 
needs the “blood of a maiden" (Alice Terry) to create 
life, so he takes her over Svengali-style. In one 
incredible scene, she’s transported to hell, where he 
appears as the devil and near naked horned men 
dance. Villagers attack and blow up the castle at the 
end. It was based on the novel by Somerset Maugham 
which was inspired by the real life Aleister Crowley. 
Check out how much the first two Universal 
Frankenstein movies borrowed from this ambitious 
horror/fantasy. The expensive and impressive looking 
MGM production was filmed in studios in Nice, and on 
location in Paris and on the Riviera. Scenes are tinted 
various colors. It was unpopular when released and 
called “tasteless and horrible” by reviewers. The 
maiden was the American wife of the Irish director, 
whose British assistant was Michael Powell (who also 
acts). 


PAUL LEDER 


FIVE MINUTES TO LOVE (Sinister, 63) D John 
Hayes, P/S/act Paul Leder, S William Norton 

(THE ROTTEN APPLE). If a pretentious, downbeat 
ofT-Broadway play filmed in a junkyard sounds good 
to you, watch this one. The bullying junkyard owner 
Harry (Leder) talks non-stop. Blowhard (King 
Moody), a dummy who works for him, smokes pot and 
a corrupt cop beats people up. Rue McClanahan (from 
THE GOLDEN GIRLS!) makes her film debut as 
“Pooch,” the “crazy whore.” Characters, each in their 
own world, rant, quote Nietzsche, and talk about 
lesbians and underage sex. The normal characters 
are an unhappy couple (Will Gregory and the very 
pretty Gail Gordon) living in a 48 Ford with their 
baby. One spinning camera scene (featuring Rue) is 
very impressive. The print of the b/w Headliner 
production is very good. Something Weird offers a 
version that includes a personal prolog by Leder. 


PSYCHOTRONIC • S 





VULTURES (Prism, 83) P/D/S Paul Leder 

Members of a Mexican/American family gather 
around a dying old man and are killed off. Stuart 
Whitman is the main suspect and Yvonne DeCarlo 
says “I can’t fuck and think at the same time!” 
Everyone seems to have lovers half their age. Greg 
Mullavey is a cop and Sheila McCrea is a doctor. 
With Whitman’s son Kipp (from BUMMER!), Spanish 
horror star Maria Perschy (as a movie star) and Aldo 
Ray (killed in the first scene). Oh yeah, the real 
(surprise!) star is female impersonator Jim Bailey 
who plays SIX ROLES! In one 
scene he plays three people - 
but two are dead! He also does 
Streisand! Leder directed a 
whole series of brain numbing 
movies featuring Mullavey 
(from MARY HARTMAN...) and 
his wife Macrae (from 
PETTICOAT JUNCTION). 

Many more Leder movies are 
available (from Video Search Of 
Miami) if Ed Wood Jr. has 
gotten too overexposed for you 
to enjoy anymore. 

THE FLAMING TEEN-AGE 
(Sinister, 57) P/D Irvin 
S. Yeaworth Jr., D Charles 
Edwards, S Jean Yeaworth, 

Ethel Barrett 

A narrator relates a tale 
about a teen who drinks. The 
characters have strong 
southern accents. This soon 
evolves into a flashback inside 
of a flashback - the real movie - 
which has nothing to do with teens! - and from the 
Times Square marquee on view, was made in 1945! 
It’s a convoluted tale (also with flashbacks inside of 
flashbacks!) of Fred Garland, a no account guy (Noel 
Reyburn) from Roanoke, who moves to NYC, and 
with no experience, manages to produce a play. Booze 
and gambling catch up with him, though and he 
drinks iodine, goes to jail, shoots up, finds GOD and 
lectures others about the paths of evil. I think the 
original movie was called TWICE CONVICTED. 
Yeaworth (who later made THE BLOB) must have 
been quite a hustler to sell a 12 year old movie as the 
“True Unvarnished Confession Of A Juvenile 
Delinquent!” Yeaworth later made WAY OUT (66), 
filmed in the Bronx, which starred real drug addicts. 


NARCOTICS STORY (Something Weird, 58) P/D 
Robert W. Larsen, S Roger Garris 

(THE DREAD PERSUASION). The ultimate anti- 
drug movie is a stark, color semi-documentary “Police 
Science Production” made by (and originally for) 
police. Users and dealers in a small California town 
are discussed and examined. The local dealer runs 
the malt shop. We’re shown (in great detail) how to 
score, roll, inhale, price and sell marijuana, then how 
to prepare heroin to sell or to shoot. If you want to 
become a cop, this will show you how to search rooms 
and how to properly bust a teen “tea party” in a car. 
Future dealers can gain foolproof tips on how to lure 


young girls into using junk. The very serious 
narration is by Art Gilmore and there’s a flashback. 
Today’s viewers might find a few cheap laughs, but 
this is mostly too realistic for ridicule. Publicity 
claimed the cast was made up of “dope addicts, 
narcotics investigators and dope pushers.” I don’t 
know about that, but the characters and unknown 
faces are great and some are very convincing. This 
was released with an exploitation campaign in 58 and 
again in 62. It played drive-ins for years. 


CAT WOMEN OF THE MOON (Rhino, 53) D 
Arthur Hilton, S Roy Hamilton, P A1 Zimbalist 

There’s too much talk and not enough action, but 
any movie with Marie Windsor (as Helen the 
navigator) falling for (the over 20 years older) Victor 
Jory on the Moon, while alien women in black tights 
dance a ballet has a lot going for it. And who can 
forget the great Sonny Tufts as the commander, the 
giant spiders and the music by Elmer Bernstein? The 
gold hungry guy on the space mission says, “You’re 
too smart for me baby. I like ’em stupid” before he’s 
stabbed to death. Hilton, usually an editor, was 
British. Incredibly, this Astor release (now 
“presented” by Wade Williams) was remade as 
MISSILE TO THE MOON (58). The (lousy) 3D goes 
on and off throughout the tape. Rhino also released 
ROBOT MONSTER (also produced by Zimbalist and 
with awful partial 3D) and THE MASK (excellent 
partial 3D) with glasses. 

ONE TOO MANY (Sinister, 50) D Erie C. Kenton, 
S Malcolm Stuart Boylan, P/story Kroger Babb 

Lots of familiar character actors are in this pro- 
Alcoholics Anonymous Hallmark roadshow movie 
about an alcoholic ex-concert pianist housewife. Ruth 
Warrick (CITIZEN KANE) stars with Richard Travis 
(MESA OF LOST WOMEN) as her reporter husband. 
Sullivan (Rhys Williams), the friendly AA member 
bartender helps her recover, but first she has a “blur- 


PSYCHOTRONIC • 9 



o-vision” dream and goes to the “psycho ward” in a 
straight jacket. It all ends well with a benefit show. 
Also with Onslow Stevens and Victor Kilian (later on 
MARY HARTMAN). When re-released (as MIXED 
UP WOMEN), ads claimed that Lyle Talbot (who is in 
one scene!) was the star. This was the last feature by 
Kenton, whose career ranged from the incomparable 
ISLAND OF LOST SOULS (33) to the birth of a baby 
movie BOB AND SALLY (48), also for Hallmark. 

TIMOTHY FARRELL 


MARSHA JORDAN 

THE MUTHERS (SW, 68) P/D Don Davis, S 
Jason Hunter 

Will suburban L.A. teen Susy (Kathy Williams) 
witness her mother Sally (Marsha Jordan) having sex 
with some guy at a “picnic.” That’s the plot of this 
nudie. The cheating mothers hang out at the Pink 
Swan bar, the kids smoke pot at pool parties. Men 
leave their shorts on during sex and a cat fight turns 
into a lesbian scene. Also with Virginia Gordon. 


TEST TUBE BABIES 
(Hollywood 
Confidential, 48) D W. 

Merle Connell, P 
George Weiss 

Farrell (with glasses 
and no mustache) made 
his film debut as Dr. 

Wright, 
a friendly, patient 
gynecologist in a once 
scandalous movie about 
artificial insemination. 

A married couple is 
happy but the husband 
is sterile, so they become 
a happy family with help 
from the doc. Stuff about 
their “wolf” friend and 
footage of a drunk at a 
party and a cat fight 
help fill up the time. The 
Screen Classics feature 
was re-released in 1967 
(!) with new footage as 
THE PILL. With trailers 
for PIN DOWN GIRLS 
and DANCE HALL 
RACKET which were 
also once available from 
the (out of business) 

Hollywood Confidential Video. 

THE DEVIL’S SLEEP (Sinister, 49) D W. Merle 
Connell 

Umberto Scali (Farrell) uses his health spa for “fat 
society dames” as a front for his illegal drug ring. He 
cleverly blackmails a philosophical female judge (Lita 
Grey - Chaplin) with naked photos of her daughter 
(Tracy Lynne). There’s a long comic scene with a cute 
overweight woman named Tessie Tesse. Scab’s comic 
assistant says “Those blimps really line your 
pockets!” Hopped up high school kids take “goofies” 
and “bennies.” With a laughable fight, characters tied 
up, some near nudity and a doctor talking about 
“hypnotics.” William Thomason is the hero police 
sergeant and George Eiferman (Mr. America 1948) is 
“Mr. America.” Grey had been Charlie Chaplin’s 
“child bride.” John Mitchum (just after his brother 
Robert was busted!) is also in the “brilliant cast.” 
William C. Thompson was the cinematographer. The 
print is jumpy (and may be cut in some spots) but is 
still an exploitation must. Scali and his perfect pencil 
thin mustache returned in PIN DOWN GIRLS. 


HER ODD TASTES 
(SW, 69) D Don Davis, 
P/S Jerry Wilder 

Years before EMMANU- 
ELLE, Marsha Jordan 
starred as Capri, 
roaming the world to do 
sexual research. She 
talks to the camera and 
narrates what happened 
in Hong Kong (a woman 
shoots her up before 
their lesbian scene), 
South Africa (she’s 
drugged and becomes 
the center of a Satanic 
orgy), Nairobi (sex at a 
hunting camp) and 
Jordan (an oily three 
way). At the end she 
admits “Yes, I am 
depraved!” before 
fucking her bald 
publisher to death! The 
laughable softcore movie 
has lots of stock footage 
of boats and jungle 
animals. It also features 
Oriental and black 
women, not at all 
common in nudie movies. 
Henning Schellerup was the cinematographer. This 
and THE MUTHERS were from Crest Films. Davis 
and Jordan returned with MARSHA, THE EROTIC 
HOUSEWIFE. 

JOSEPH B. VASQUEZ 

STREET HITZ (AIP, 1988) P/D/S/cine/ed. Joseph 
B. Vasquez 

Junior (Angelo Lopez), a son of a barber, is unhappy 
living with his new wife on East 138 St. in the Bronx. 
He’s a hot head with black best friends who likes to 
fight. His smarter brother goes to college and seems 
to have a future. Gangsters and the realities of ghetto 
life result in many senseless deaths and a depressing 
end. There’s too much talking (or yelling) and soul 
searching but it’s a well made first effort low budget 
16mm feature and the salsa music helps things 
along. Vasquez who is black/Puerto Rican was in his 
mid 20s when he made it. 

BRONX WAR (Academy, 1989) D/S/star Joseph 
B. Vasquez, P Elizabeth Frankel 

Vasquez added more action this time and BRONX 



Marsha Jordan sends " lots of LOVE*' 


PSYCHOTRONIC • 10 


WAR is an outrageous, unrated, extremely violent 
gang movie. Tito Sunshine (Vasquez with a ponytail) 
is the cool but naive owner of a Bronx strip bar with a 
loyal gang that deals coke (and stolen credit cards). 
Rachel (Charmain Cruz), a bad sister, is his downfall 
when she comes to stay after escaping a drug related 
slaughter. A war with vicious black gangsters kills off 
most of the cast. An arm is cut off in one blood 
spurting scene. Fabio Urena co-stars as Tito’s right 
hand man. 

HANGIN WITH THE HOMEBOYS (New Line, 90) 
D/S Joseph B. Vasquez, P Richard Brice 

Vasquez made his first real hit (backed by New 
Line) by adding more humor, hiring some excellent 
actors (and borrowing some ideas from AMERICAN 
GRAFFITI). After crashing a party, four very distinct 
characters from the South Bronx decide to drive to 
unfamiliar territory - Manhattan (“The Bronx is wack 
tonight”) for a long aimless Friday night. They talk, 
drink, argue, crash a car, are arrested as subway fare 
beaters, visit Show World and feel out of place after 
sneaking into a pretentious downtown night club to 
try and pick up girls. The night is a turning point in 
the lives of some of them. Doug E. Doug stars with 
John Leguizamo, Nestor Serrano and Mario Joyner. 
The theme is the well known hit “I Got The Power.” 

HG LEWIS 

PRIME TIME (Something Weird, 58) P/D 
Hershell Gordon Lewis, S Robert Abel 

Jo Ann Le Compte stars as Jean, a wild, tough 17 
year old who says “I’m bored, bored, bored” and “I 
look at least 22!” She poses topless for an artist 
known as “the Beard.” He ties her up and drugs her 
and her boyfriend Tony and the kids who hang out at 
Luigi’s search for 
her. A sexy and 
bored looking young 
Karen Black makes 
her film debut as a 
“live one” who poses 
for the Beard on a 
bar stool. An 
impressive rocka- 
billy band (see 
photo) does “She’s 
A Tiger” at the 
Golden Goose. 

There’s a cat fight 
flashback, an 
underwear swim 
scene and some 
lame attempts at 
comic relief. It was 
the first feature 
filmed in Chicago “in 40 years.” David F. Friedman 
was in charge of “advertising, publicity and 
exploitation” of Lewis’ b/w first effort. He later 
renamed it HELL KITTEN. 

BLAST-OFF GIRLS (Something Weird, 67) P/D/S 
Hershell Gordon Lewis 

Attention: readers who are or were in bands - you 
should see this movie! It’s a formerly lost classic 
about the rise and fall of The Big Blast, a teen garage 
band (played by a real authentic non-actor Florida 


garage band). Boojie Baker (Dan Conway) becomes 
their sleazy manager and they have a hit called 
“Noise” (it’s shown on the charts just after The 
Yardbirds). He provides new clothes, studio time, 
champagne and women, but when the band rebels for 
lack of profits, he frames them on a pot bust. Then 

they go on TV high and sing “Go Yourself My 

Friend.” With Lewis regular Ray Sager as Boojie’s 
assistant and Colonel Harlan Sanders (!) who shows 
up to offer fried chicken to the group for playing 
while little kids dance. The keyboard player sounds 
like Pigpen from the Grateful Dead! The ending is 
copied from The Monkees. Louise Downe was the 
assistant director. David Friedman later tackled the 
same topic with BUMMER! 

COUNTRY CLASSICS 

SWAMP COUNTRY (Paragon, 66) P/D Robert 
Patrick, S/act David DaLie, P Jerome Sandy 

When a blonde in a red dress staying at a motel is 
killed, a big guy from California (DaLie) is blamed and 
escapes into the Okefenokee Swamp. Since he happens 
to be a survivalist/hunter, he survives attacks by 
gators, bears, snakes and a mountain lion and rescues 
a little girl. The wildlife footage is excellent and so are 
some of the songs sung by Baker Knight, who stars in 
love triangle and bootlegger subplots. He does the 
great title theme (“land of the tremblin’ earth...”) and 
some talking blues numbers with his Johnny Cash 
type voice. Former singing cowboy Rex Allen is the 
sheriff and Lyle Waggoner is the deputy. The color 
southern drive in hit also features Carole Gilbert 
(BIGFOOT), Vincent Barbi (ASTRO ZOMBIES) as a 
gangster and some stereotyped wide-eyed blacks. It 
was filmed on location in the Okefenokee swamp in 

Georgia. Patrick 
also produced 
ROAD TO 

NASHVILLE the 
same year. 

SWAMP GIRL 
(Something 
Weird, 71) P/D 
Don Davis, P/S 
Jay Kulp, P Jack 
Vaughn 

Simone 
Griffeth (DEATH 
RACE 2000) stars 
as an innocent 
young “ghost girl” 
with long blonde 
hair who was raised 
in the Bayou. 
Country singer 
Ferlin Husky is a friendly Okefenokee swamp ranger 
with an air boat who helps her after her “pa” (who 
turns out to be a black man) is killed by an escaped 
female con and her boy friend. The PG rated feature 
has flashbacks about a drunken abortion doctor who 
sold babies and includes a girl/girl mud fight and 
death by quicksand, axe and snakes. The music score 
(not country) is excellent. Filmed in Waycross, 
Georgia and Orlando, Florida. The print is very good. 
The same director made Marsha Jordan movies. 



PRIME TIME 


PSYCHOTRONIC • 11 


■ .I'll* 

Wanda 


FOR MATURE ADULTS 
ONLY 


(T/u> 

Sadistic 
Hypnotist) 


% <£ 


PREACHERMAN (Paragon, 7-) P/D/S Albert T. 
Viola, S Harvey Flaxman 

Amous Huxly stars (as “himself”) in this southern 
comedy hit from North Carolina. He’s a smooth 
talkin’ con man preacher who goes after blonde 
hillbilly Mary Lou, who has “an unnatural hankerin’ 
for menfolk.” The Preacherman’s “Angel Leroy” con is 
very funny and a guy named Farley has sex with 
chickens (offscreen). The soundtrack is banjo music, 
the theme song is great and there’s a gospel singing 
(one armed) brother and sister that helps sell 
moonshine (“God’s nectar”). Pat Patterson was the 
production manager. A sequel was called 
PREACHERMAN MEETS WIDDAR WOMAN. Viola 
went on to make movies for Roger Corman. 


PHILIPPINES 

DEVIL WOMAN (Something Weird, 70) D Albert 
Yu, Felix Villar, P/S Jimmy L. Pascual 

A girl born during a thunderstorm can control 
snakes and has snake hair (!) hidden under a scarf. 
Villagers kill her parents, so she grows up seeking 
revenge. She (Rosmarie Gil) lives in a cave and uses a 
local gang to help. A new Chinese doctor (Alex Fang 
Lee) becomes a reluctant kung fu hero. There are lots 
of fight scenes, some involving snakes and fireballs. 
American military music is played at a boxing match 
since this takes place in the 1800s. Other sources 
give different credits. The music (probably lifted from 
another movie) is good. The color tape is letterboxed. 

THE KILLING OF SATAN (Paragon, 74) D Efron 
C. Pinion, S Jose Mari Avilana, P Pio C. Lee 

A man (Ramon Revilla) is chosen (by his dead uncle 
Miquel) to battle evil forces. The “Prince of Magic” 
can hypnotize people, shoot rays from his hands and 
make heads spin, but he and his men use guns when 
convenient. A devil in a red suit keeps naked women 
caged in his cave. A snake becomes a man in a jock 
strap. A giant boulder crushes a man into a bloody 
pulp. This fun movie throws in every low budget 
effect the filmmakers could come up with. Includes 
Penitentes whipping themselves and ends with a 
major battle of magic. 


NUDIES 

THE JOYS OF JEZEBEL (Something Weird, 67) 
P/D A. P. Stootsberry, S Maurice Smith 

Hell is the setting of this softcore sex comedy 
fantasy, a good way for the filmmakers to get away 
with lots of scandalous things. The comic devil 
(Christopher Stone, not the HOWLING actor) lets 


Jezebel (Christine Murray, also in TRADER 
HORNEE) return to earth so she can deliver the soul 
of a busty blonde virgin named Rachel (Dixie 
Donovan) by taking over her body. The orgies in hell 
are hard to see because of all the red filters on the 
lights. Goliath and Soloman are other characters. The 
dub soundtrack has rock guitar, voices and 
backwards parts. 



WANDA, THE SADISTIC HYPNOTIST 
(Something Weird 69) P/D/S Greg Corarito 

A man is kidnapped by Wanda (Katharine Shubeck), 
a tall woman with a fashion model body, heavy eye 
makeup and a riding crop. Women swim naked in her 
L.A. pool, people are whipped (not realistically). She 
hypnotizes a saleslady and makes her dance and a 
laughing escaped maniac breaks in. He and the first 
man smoke pot and pass around LSD pills, followed 
by a trip sequence. All the while, this silly (narrated) 
movie is being watched by one lone guy in a 
grindhouse theatre (who started out by imaging nudes 
in a shop window then watching a nudist short). The 
garage rock music is by The Masochists and there’s a 
cosmic ending. The sound dubbing is as bad as 
possible. Richard Compton was the assistant director 
and Gary Graver was the editor. 

DAVID F. FRIEDMAN 

A SMELL OF HONEY, A SWALLOW OF BRINE! 
(SW, 66) D B. Ron Elliot/Byron Mabe, P/S/act 
David F. Friedman 

Stacy Walker stars as a sexy office worker who 
teases men and sends one to jail on false date rape 
charges. She takes a lot of baths and also teases her 
lesbian roommate, then laughs, “I may be a bitch, but 
I’ll never be butch!.” One guy dreams about tying her 
up her but the dream goes wrong when she castrates 
him! Laszlo Kovacs (as “Art Radford”) was 
cinematographer for the 71 minute b/w Sonny 
Amusements release. The great sounding simple 
garage band music was by “et cetera,” a real Beatle 


PSYCHOTRONIC • 12 


hair group (they appear in a bar scene) that got to 
split $100 for their efforts. Walker (Barbara Jean 
Moore), who also starred in THE NOTORIOUS 
DAUGHTER OF FANNY HILL really carries the 
movie, doing a nude scene and really acting. She was 
a Texas dropout, who returned to Houston after her 
two features. Friedman is fun to spot in two roles. 

THE ACID EATERS (Something Weird, 68) P/D 
B. Ron Elliott/Byron Mabe, S Carlos 
Monsoya/Monson 

Four middle class office worker couples become 
weekend “bikers” in all red clothes. They go for a 
(topless) swim, play strip poker and “freak out” on 
(and in) the “White Pyramid.” In fantasy segments, 
a guy has sex with his neighbor and a blonde dances 
topless while a black guy plays bongos. Comic actor 
Buck Kartalian dominates things as “Arty” and also 
shows up as a devil with a pitchfork and shows the 
others how to smoke pot and gives them huge cubes 
of LSD. The dubbing of the silly adult sex/drug 
comedy is awful and the motorcycle scenes seem 
endless, but the flash forward editing is effective 
and the women look Fine. A marquee says UP THE 
DOWN STAIRCASE (a 67 release). Friedman was 
cinematographer for the 65 minute feature from his 
FPS Ventures. The tape is a very good color print. 



LARRY BUCHANAN 


NAKED WITCH (Sinister, “60”) D/S/ed. Larry 
Buchanan, P Claude Alexander 

Buchanan’s first feature is a real find. A stake is 
pulled out of the “widow witch” (Libby Hall) in the 
old fashioned German village of Luchenbach, Texas. 
She returns (after some bad time lapse changes) to 
kill descendants of the people (seen in a flashback) 
with an axe. She has wild eyebrows and is naked, 
walking through a graveyard, but she’s optically 
censored! In other scenes, she wears a see thru 
negligee, dances in a cave to bongo music and takes 
a nude swim. With Robert Short as the meddling 
student (who also narrates), Jo Maryman and Der 
Saengerbund Children’s Choir. Buchanan said he 
made this for “$8 thousand in 16mm and color.” A 
sign says “1954” and “witch hunts today” are 
mentioned. Could this be that old? A very long intro 
is read (by Gary Owens) over closeups of 
Hieronymus Bosch paintings. The intro music is 


from DAY THE EARTH STOOD STILL. The sound 
is by S. F. Brownrigg. The tape (which is b/w) is 
jumpy in spots, but has some choice trailers at the 
beginning. The A.F.I. lists a 64 movie with the same 
name and producer and a similar plot - by Andy 
Milligan. Anybody know the story behind this?!? 

STRAWBERRIES NEED RAIN (70) P/D/S/ed 
Larry Buchanan 

Death (Les Tremayne) sits on a grave with a 
scythe on his shoulder and narrates this overlong 
flashback Filled color adult drama. It’s supposed to 
take place somewhere in Europe, but nearly 
everyone has Southern accents! Monica Gayle stars 
as Erica, a poor girl who has various sexual 
encounters before Les Finally takes her away. A farm 
boy can’t do it, a playboy biker beats her and she 
falls for a poetry reading teacher. Parts are very 
tedious, parts are unintentionally funny (of course) 
and parts are pretty sexy (Gayle is naked in a river, 
in a field, climbing a ladder...). Buchanan claims his 
Bergman copy played in Texas theatres - as a 
Bergman film - and nobody knew the difference! The 
credits claim this was Gayle’s first movie. She went 
on to many Hollywood nudie movies. Sorry, but I 
don’t know who offers this very rare tape. 

OHIO 

GALAXY OF DINOSAURS (CVH, 92) D/cine. 
Lance Randas, S Jon Killough, P J. R. 
Bookwalter 

If you ever wanted to see James K. Shea’s PLANET 
OF THE DINOSAURS (78) here’s your chance. 
Bookwalter used all of that film’s excellent animated 
dinosaur footage and shot new stuff as cheaply as 
possible on video in some woods in Mogadore, Ohio. 
Five human “aliens” with no costumes or anything, 
materialize and walk around. They try to interact 
with and react to the older footage, get high from 
mushrooms and meet a “caveman” that says Ug. The 
comic fat guy faints, pukes and eats a dinosaur, the 
black guy turns out to be gay and the end rips off 
PLANET OF THE APES. 

KINGDOM OF THE VAMPIRES (CVH, 91) 
P/D/ed J. R. Bookwalter, S/star/music Mathew 
Jason Walsh, P Scott P. Plummer 

A long haired convenience store worker is a very 
reluctant vampire whose horrible mother is a 
demanding (“Kill For Me!”) killer. Walsh who also 
stars in MIDNIGHT II, gives his all as he talks, 
cries, screams, begs and panics and finally kills his 
mom. Trouble is this shot on video release has no FX 
and moves at a snail’s pace. Made in Medina County. 



i 3 


PSYCHOTRONIC • 








few 
CD’s, videos, 


TOO COOL (St. Martins, $12.95) Ge 

The sequel to “Catalog Of Co 
Bakalyan, Louie Jordan, Bobbj^ jy4 __ 

Pittsburgh and blaxploitation n\{jvieS (t 
topics), and recommends many musicians; 

TV shows, books, comics, dirty comedians and zines 
(including the one you are reading). They also tell you 
where to send for some of them. Even if you know and 
appreciate most of this stuff 
already, TOO COOL is fun to 
read, has great pictures and is 
guaranteed to make you want to 
check out some of the people or 
things inside. Associate editor 
Dick Blackburn even writes about 
Esquivel. They cheat by 
reviewing at least one made up 
title, the movie, “MARTIAN 
CRIME WAVE.” 

HOT SCHLOCK HORROR! 

(Dreamtrip, $14.95) John 
Wooley 

Writer Wooley (who once 
published a Bert I. Gordon 
fanzine!) chose 43 drive-in movies 
(from various countries) and gives 
each one an illustrated chapter in 
this book. They range 
alphabetically from ANATOMY 
OF A PSYCHO to THE WIZARD 
OF GORE, and time wise from 
1952 (LOST WOMEN) to 80 (THE 
CHILDREN). Each chapter has 
credits, ads and photos and most 
chapters include some interesting 
information 



(“Will Jayne Mansfield Strip For Khrushchev?”) It’s 
interesting that by the time Jayne made her (unnoticed) 
film debut in 55, Mamie had already been acting for 5 
years and when they appeared together (LAS VEGAS 
HILLBILLYS) they were billed after Ferlin Husky. 
Although Betrock uncovered some little known Mamie 
titles (from Italy and Argentina), he forgot THE 
ARIZONA KID (71), her Filipino western comedy (!) and 
FREE RIDE (86). 449 12th St. 
Brooklyn, NY 11215. 

POVERTY ROW HORRORS! 
(McFarland, $36.50) Tom 
Weaver 

Subtitled “Monogram, PRC 
and Republic Horror Films Of The 
Forties,” this (376 pg.) illustrated 
book has whole chapters on 31 of 
them. Each title has lots of 
interesting background info along 
with the basic facts and plots as 
well as reviews (from the 40s and 
recent). Where else will you find 
pages of info on REVENGE OF 
THE ZOMBIES and FACE OF 
MARBLE (?!). There are also 
extensive filmographies for 35 
actors (Loma Gray, Wallace Ford, 
Mantan Moreland, Charles 
Middleton...), short entries for 
borderline features and a best of 
Bela Lugosi Monogram movies list 
which various people voted for. 
INVISIBLE GHOST made #1 and 
GHOSTS ON THE LOOSE came 


new bits of 
The facts about the family that made 
SATAN’S BLACK WEDDING and CRIMINALLY 
INSANE are especially interesting. Wooley obviously 
never saw VOODOO HEARTBEAT, but then, who has? 
It’s dedicated to Mr. B.I.G.’s daughter Susan, who the 
author met as a child. Look for it in comic stores or try 
PO Box 580932, Tulsa, Oklahoma 74158. 


JAYNE MANSFIELD VS MAMIE VAN DOREN - 
BATTLE OF THE BLONDES (Shake, $13.95) Alan 
Betrock 

This great book of mostly photos and ads includes 
chapters for each actress on their films, their many 
magazine covers and scandal magazine covers and 
books. Several books have been published about 
Mansfield, but except for her autobio and some rare 60s 
paperbacks, this is a first for Van Doren. You also get 
pin up shots (no nudes), some product endorsement ads, 
filmographies, discographies and “scandalographies” 


Billy Benedict is in POVERTY ROW HORRORS! 

in last. I voted for VOODOO MAN for top of the list. 

DRIVE-IN THEATRES (McFarland, $32.50) Kerry 
Seagrave 

Read all about how drive-ins which are “posed at 
the edge of distinction” started (in Camden, New Jersey) 
in 1933 and peaked in 1958. This well researched book 
covers the promotion of drive-ins, patent battles, 
refreshment stands, foreign drive-ins and local legal 
cases over the showing of sex movies in 286 pgs. A list of 
1942 “ozoners,” reveals that Ohio had the most in the 
country at the time (11), followed by Massachusetts. 
Some used to have ushers and car hops! You can order 
any McFarland books direct from Box 611, Jefferson, 
North Carolina, 28640. In America, add $2 postage for 
one book and 75c for each additional book. 


GRIND SHOW (A.I.P.) Fred Olen Ray 

If you’re a fan of side shows, live grind shows (or 
freak shows), you’ll want this small (52 pg.) book. Ray 
(who owns his own traveling show) includes the most 




PSYCHOTRONIC • 14 


successful operators, explains the insider lingo and 
reveals which attractions were/are clever illusions, total 
rip-off fakes and which were real. The photos of the 
incredible banners are worth it alone. “Giant Killer 
Frogs!,” “Headless Woman!,” “Atomic Mutant Monster!” 
and “Horrors Of Drug Abuse!” are a just few. It’s an 
historical look at a dying American tradition. Write 
American Independent Press, PO Box 1901, Hollywood, 
CA 90078 

THE ILLUSTRATED VAMPIRE MOVIE GUIDE 
(Titan, 9.99 pounds) Stephen Jones 

Every known vampire movie (and many shorts) are 
listed with director, star, original foreign titles and 
comments, alphabetically by decades (with a section for 
silents). Most current vampire movies are included, as 
well as all the Chinese vampires from recent years. This 
book proves that the 70s were the maximum decade for 
bloodsuckers (it takes 36 pgs. to chronicle them all) and 
despite Bela, the number of undead 30s movies is very 
low (18, including shorts and some very marginal titles). 
Some of the many photos and ads are in full color. An 
appendix includes vampires on TV. Jones was partially 
responsible for Shock Express (the zine and book). Of all 
the many books out there now to cash in on the Coppola 
feature, this is the one to buy and keep. Titan Books is 
at 19 Valentine Place London SEI 8QH, England. 

B-MOVIES IN THE 90s AND BEYOND (Tempe, 
$14.95) J. R. Bookwalter 

After his “Attack Of The B-Movie Makers” (on Fred 
Olen Ray and David DeCoteau), the young Ohio 
filmmaker Bookwalter wrote this (spiral bound) self- 
published book about his own experiences getting into 
the video business and making and marketing ultra low 
budget movies. Afler making many amateur shorts, Sam 
Raimi got him started making features (THE DEAD 
NEXT DOOR) and now Bookwalter directs, produces 
and has his own company. He’s gone from Super 8 to 
16mm to video. He calls some of his own titles “stinker” 
and “dog” and you’d probably agree, but this book could 
inspire some others to do it themselves in the future. PO 
box 6573, Akron, Ohio 44312. 

DESIGN AFTER DARK, THE STORY OF 
DANCEFLOOR STYLE (Thames And Hudson, $22.50) 
Cynthia Rose. British graphic artists and designers are 
interviewed along with commentary in this beautifully 
designed color and b/w book of posters, record covers, 
posters, shirts and promotional art from the recent 
London scene. DESTINY REFERENCE GUIDE Vol. 
2. ($23.50 ppd.) Like Vol. I (PV #14) this is a spiral 
bound computer print out guide to everything in Playboy 
magazine. This one has filmographies for Playmates 
(they missed some, though) and chronicles the contents 
of every Playboy calendar, special or annual issue and 
video tape plus a price guide. Paul Hugh, 9440 Nichols, 
Bellflower, CA 90706. DRACULA, THE ULTIMATE 
ILLUSTRATED EDITION OF THE... PLAY (St. 
Martins, $14.95) David J. Skal. The author of 
“Hollywood Gothic” returns with an illustrated look at 
the history of the 1924 British play which was revised 
for Bela on Broadway in 27. Both original scripts are 
here and there are many rare Lugosi stills. WHEN 
ELVIS DIED (Pharos, $12.95) Neal + Janice Gregory. 
Here is the detailed story behind how the news of Elvis’ 
death on 8/16/77 broke and how it was reported around 
the world. President Carter even released an official 
statement. Not just another Elvis book, it’s for students 
of reporting and news media too. Hurry though, the 
publisher is out of business! Also look quick for THE 
ULTIMATE GUIDE TO INDEPENDENT RECORD 
LABELS AND ARTISTS (Pharos, $15.95) by Norman 
Schreiber. ALTERNATIVE OSCARS (Delta, $18.95) 
Danny Peary. The author of those “Cult Movie” books 


tells who should have won the best picture, actor and 
actress Oscars for every year and why. Some of his 
choices are REPULSION, GUN CRAZY, NIGHT OF 
THE HUNTER, BRAZIL, lots of Hitchcock movies, 
Melanie Griffith, Jennifer Jason Leigh, Boris Karloff 
and Jerry Lewis. LASER DISC FILM GUIDE (St. 
Martins, $15.95) Jeff Rovin. 314 movies currently 
available on laser disc are reviewed with details about 
the quality and presentation. THE ART OF 
SAUDELLI - BONDAGE AND FOOT FANTASIES 
(Glittering Images) The Italian Franco Saudelli 
specializes in drawing women tying each other up. If 
you’re into bound and gagged women, here’s 124 pgs. of 
them. A full color section includes Saudelli magazine 
covers. Write Glittering Images, via Giovanni Da 
Montorsoli 37/39, 50142 Firenze, Italy (new address) for 
price, or a catalog of their many available books. THE 
AMERICAN JOURNAL OF THE CRUSH FREAK 
($20) JefT Valencia. A Crush -freak “wishes himself tiny, 
and wants to be stepped on and squashed by the foot of a 
woman.” If you share this fantasy write: PO Box, 946, 
Bellflower, CA 90707. INCRIMINATING EVIDENCE 
(Last Gasp, $15) Lydia Lunch. Lunch is angry and here’s 
why. Also with two scripts written with Emilio Cubeiro. 
The illustrations are by Kristian Hoffman, who was on 
James Chance records way back when in NYC. 2180 
Bryant St., SF, CA 94110. IRON JOE BOB (Atlantic, 
$19) Joe Bob Briggs. Chapters in this spoof of the “men’s 
movement” include “The Limp Spear,” “The Lesbo 
Boom” and “Cappuccino My Butt.” No drive-in movies at 
all this time. HOWARD STREET (Amok, $9.95) 
Nathan C. Heard. The author, an ex-con who appeared 
in the movie GORDON’S WAR (73) has been called “the 
William Faulkner of the American ghetto.” This, his first 
novel (from 68) is set in his native Newark. MURDER 
BY THE NUMBERS (St. Martins, $17.95) Max Allan 
Collins. After Chicago, Elliot Ness was “Director Of 
Public Safety” in Cleveland. In this novel (partially 
based on fact), Ness deals with a war between black 
gangsters and the Mafia in 1937. KALIFORNIA (St. 
Martins, $18.95) Marc Laidlaw. In the media dominated 
future, the daughter of a TV star is kidnapped. It’s the 
third novel by the “cyberpunk” author. 



TREAT VTXJRS ELF TO A STRANGE INTERLUDE of HORROR/ 



mm 


MATS. WED. 


MOST AMAZING. NERVE 
TtNGUNG DQAMA in THE HISTORY of THE 
ENGLISH SPEAKING STA6Er*w 

r YOU MAY BE SORRY IE YOU COME. BUT YOUlL* 
REGRET IT FOREVER, IF YOU DON'T J' 

EMEQGEMCV HOSPITAL t* THE FOYER, DOCTOR. 

AND NURSE IN CONSTANT ATTENDANCE 




SUMMED SHOWS start SOON - SEASON 



PSYCHOTRONIC • 15 






By ART BLACK 

Right off the bat, one of the best releases of the 
past few months is Atlantic’s semi-soundtrack to the 
Dave Stewart-commissioned film DEEP BLUES, a 
comp of location recordings of contemporary 
Mississippi juke bluesmen — though “contemporary" 
is a bit misleading, as this is the kinda crank you 
don’t hear too much nowadays. Or at least, the best of 
it is. R. L. Burnside for example offers what compiler 
Robert Palmer rightly calls “slash and drone trance 
blues” in a time damaged voice accompanied only by 
his own highly potent 
rhythmic guitar. Similarly, 
she-wolf Jesse Mae Hempill (a 
name first brought to my 
attention by Tav Falco, like 
recent TV starlet Cordell 
Jackson), whose “Shame On 
You” is a longtime fave. Much 
of the rest is juiced up but 
unspectacular Chicago-style 
blues, though jack-of-all- 
strings Lonnie Pitchford 
(whose one string guitar 
rendition of “My Babe” a few 
years back is probably the 
wildest version of that song 
I’ve ever heard) brings things 
home to Robert Johnson/ 

Mississippi Fred McDowell 
territory with his pair of 
offerings, while Owens & 

Spires recall such classic 
moody, gritty g/v harmonica 
duos as McDowell & Johnny 
Woods and early Muddy & Little Walter. 

Leaping forward into the twenty-ninth century, 
RAILROAD JERK update blues for the post-Prozac 
generation, even to eviscerating Bukka White and 
rebuilding him in time honored Frankenstein 
tradition. RAISE THE PLOW bests all of its modern 
competition in the recent trend-within-a-trend of 
combining 80s urban noise-rock with the darker, 
dirtier backroads and alleys of R&R past (and 
precursors). The bleary visionaries in RJ somehow 
seem to come by their musical purgatory more 
naturally than the rest — this is music of the heart, 
not hair. From the same label, COME loot styles and 
trends just as relentlessly, similarly transcending 
their influences on ELEVEN: ELEVEN to create a 


music somehow tense, somber, heavy, and decidedly 
NOT run-of-the-underground rock macho. Band 
throat Thalia Zedek has been involved in the past 
with the over appreciated Dangerous Birds, the way 
underappreciated Uzi, and of course, most visibly 
Live Skull, whom she drove straight to their death. 
COME is her best vehicle to date. (Matador, 676 
Broadway, NYC 10012). 

COP SHOOT COP inhabit a different Planet 
Rock than anyone else in your vocabulary. SUCK 
CITY is their BIGGEST little record so far, a thick, 
meaty slab of spasmodic headwag despite the absence 
of conventional guitar. Full of 
huge stuttering riffs, *tis a 
disc Paul Bunyan could dance 
to, while reeling from the 
delirium brought on by losing 
both his feet to gangrene 
(Atlantic). 

On the reissue front, Sub 
Pop have gotten around to 
putting BEAT HAPPENING’S 
BLACK CANDY out on CD. 
Their best record, you need it, 
’nuff said. The COSMIC 
PSYCHOS’ GO THE HACK 
sounds considerably closer to 
the center of the indie 
spectrum in 93 than it did in 
— what was it?, 90? — and 
consequently considerably less 
interesting. Nonetheless, I 
liked it then, and I like it still, 
as will anyone to whom the 
holy trinity means Iggy and a 
pair of Ashetons. BLOOD 
CIRCUS suffer the same fate of sounding relatively 
common in retrospect, though they too were mining 
uncharted — or at least untrammeled — territory back 
in 88/89 when the material on PRIMAL ROCK 
THERAPY was recorded. I can tell you their original 
piss-yellow single and their set at Maxwell’s kicked my 
lardy ass back when. I can also tell you the same 
material don’t do quite the same half a decade later. 
It’s like listening to some relic from 77 or 67 or 57. 
Brings back a certain feeling that reigned for a short 
time and passed into history. Or, well, okay, maybe it 
didn’t in this case. BLOOD CIRCUS were prototypes 
for everything that’s filling the diapers of trendhoppers 
international nowadays, and if they were better at it 



Question Mark dreams that he’s in PSYCHOTRONIC 


PSYCHOTRONIC • 16 



I 



Louis Prima liked pizza and beer 

than any single current flannelband I can name, well 
then just don’t ask me why I hate modem music. (Sub 
Pop, Box 20645, Seattle, WA 98101. 

AUTOPSY deserve a paragraph of their own for 
ACTS OF THE UNSPEAKABLE, rife with titles like 
“Necrocannibalistic Vomitorium,” “Battery Acid 
Enema” and “Orgy In Excrements.” Yes, you know 
EXACTLY what it sounds like. (Paceville/Caroline 
114 W 26 St., NYC 10001). 

COFFIN BREAK are Seattle stalwarts forever 
destined to be second-stringers. Of course, that’s 
what I said about Nirvana, so what the fuck do I 
know? THIRTEEN has a CARRIE-esque buckets o’ 
blood cover I might’ve liked if Michael Lavine and the 
Dwarves hadn’t gotten there first (and better, much 
better), with the kind of music that virtually defines 
style over substance. Like all those goddam southern 
Cal bands that think melodipunk is just the raddest 
thing, CB were probably the first northwest band to 
sound completely and uncompromisingly generic. Or 
would that be Skin Yard? Note: 13 includes a Black 
Sabbath cover. Yep, THAT inventive. (Epitaph, 6201 
Sunset Blvd. #111, Hollywood, CA). 

Moving back to the truly independent sector, 
LOVERS AND OTHER MONSTERS could have been 


British in 1981. I know that’s a 
cruel thing to say about anyone, 
but their pseudogoth pomp and 
smirky self-consciousness remind 
me of nobody so much as 
Philadelphia’s Egoslavia (AKA 
Raging Slab, renamed during one 
of their straw-grasping trend hops), 
and what could be more 
pathetically British than that? 
Hint for the future: Expect Raging 
Slab to be the next Nirvana. (Den 
Of Iniquity, PO Box 103, Allston, 
MA 02134). 

BRIAN WOODBURY AND 
HIS POPULAR MUSIC GROUP 
win the award for best packaging of 
the issue, with cardboard foldouts 
and pockets and whatnot. And who 
knows, half-brained and half- 
starved fans of They Might Be 
Giants might even think them a passable standby in 
time of emergency. Hey, whaddya know — I just read 
the publicity cheatsheet and there’s a bunch of TMBG 
incest going on here. Imagine that. (Fang, PO Box 
652, NYC 10009). 

SUBSONICS time. And back to influences on 
sleeves. Good influences. Good sleeves. Opening with 
a song that sounds like the Velvet Underground 
meets the Trashmen, these Subs are psychotronic 
from their spleens on out. Recorded in nearmono live- 
a-rama, these guys (2) and girl (first time I heard 
this, without looking at the sleeve, I knew they had a 
femme drummer, who I’ll bet plays standing up, on a 
“kit” you could fit in a styrofoam cooler — if it doesn’t 
consist OF a styrofoam cooler) aren’t quite garage, or 
quite pop, or quite voidoid, or quite anything you 
could stick your greasy thumb print on. If Marc Bolan 
got scrambled Fly-style in a transporter with Dick 
Dale and decided to record the forgotten follow-up to 
Talking Heads 77, with Tom Verlaine on — aw, forget 
it. Kind of a cool record. Leave it at that. (Worrybird). 

We also received THE PARTY’S NOT OVER, a 
rare trash comp CD (with Young Jessie, Don And 
Juan, A1 “Jazzbo” Collins...) from Rock ‘n’ Roll 
Records, 16 Grove PL, Penarth CF6 2LD, South 
Wales, UK and BEST OF VAN MORRISON Vol. 2 
(Poly dor) 


« J§M: i;. DRACULINA 15: Interviews 

fflPIl with J.R. BOOK WALTER, JACK 

*/L HILL, KELLI MARONEY. 

« mm Making of COROTICA, 

GIRLFRIENDS, INVASION OF 
THE SCREAM QUEENS. VIDEO 
Wm REVIEWS! A new DRACULINA 

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CENTRA LI A, IL 62801 SSfiSiilHl 




Pyramid Records 

201 - 7th AVENUE 
(Bet. W 21st & W 22nd Street) 

NEW YORK, NY 10011 


We Buy, Sell & Trade 
Specializing in 60’s & 70’s Rock 


Tel. (212) 243-5588 
Open 7 Days A Week 


PSYCHOTRONIC • 17 





I’m filing this column from Austin, Texas where I’ve 
been selling tapes and t-shirts for Candye Kane and 
the Swingin’ Armadillos, a smokin’ band from San 
Diego. So before I party myself completely to death, 
let’s round up the Spare Parts stew pot. 


bOING, which touts itself as “the world’s greatest 
neuroxine.” #9 features words by Mark Frauenfelder, 
Bruce Sterling and P. X. Nathan’s piece on “Robot 
Groupies.” $4 to them at 11288 Ventura Blvd. #818, 
Studio City, CA 91604. 


THE MUSIC GOES ROUND AND ROUND DEPT... 

Russ Forster sent the latest ish of 8 TRACK MIND ($2 
to Box 90, E. Detroit, MI 48021) and it covers, you 
guessed it - 8 track tape collecting. The mag is chock 
full of impassioned essays about the joys of glomming 
onto samples of this nearly obsolete musical format. 
From the land down under, Paul Simons sent us #71 of 
THE BIG BEAT OF THE FIFTIES, a gawh-juss mag 
covering such cool cats at Fats Domino, The Moonee 
Valley Drifters and tons more. Box 21, World Trade 
Ctr., Melbourne, Australia, 3005. An SASE to SUB 
POP, 1932 First Ave. #1103, Seattle, WA 98101 will 
score ya the POOP 
SHOOT, an amusing mix 
of rants, comix and crank 
mail from the hipsters at 
SUB POP. If ya want to 
see a nekkid pic of Jello 
Biafra, send $3 for 
MOTORBOOTY #6 to 
Box 7944, Ann Arbor, MI 
48107. You’ll also be able 
to dig info on Blowfly, 

Bozo The Clown, Firesign 
Theatre and some swell 
comics. In short, a great 
mag through and 
through. 

WEAR YOUR 

RUBBERS DEPT... 

Check out RUBBER 
CHICKEN, “humor for 
grown ups,” edited by my 
ol* poker pal Blake 
Gerard. Send for #1, 
which sports a classic 
Danny Heilman cover 
pimping for Arnold 
Schwarzenegger and is 
full of yokkable articles 
and cartoons. $3 to Blake 
at 95-60 Queens Blvd. 

#106, Rego Pk, NY 11374. 

Speaking of cool covers by 
Heilman, look for bOING 


FLIP FLOP & FLY DEPT... Rudi Protrudi sent 
TALES FROM THE FLYPT, a book of stories and 
poetry by Mike Czekaj, which Rudi illustrated. SASE 
to Rudi at Cult Of Fuzz, 8306 Wilshire Blvd, #774, 
Beverly Hills, CA 90211 for info and a must have 
Fuzztones merchandise catalog. 

MUSEUM OF THE ODD DEPT... Charles Johnson, 
a mad genius from Lincoln, Nebraska, recently had 
some of his remarkable artwork chronicled by his 
friend Karen Blessen. She has put together a set of 9 
postcards depicting scenes from Chuck’s basement of 
horrors... including “Pumpkin Wall” and “Dinosaurs 

Eating Babies.” $5 for the 
set to Blessen, 6327 
Vickery Blvd., Dallas, TX 
75214 and look for my 
quote on the “Dancing 
Skeletons” card. 

ORDER 
DEPT... 

Dr. O’s 
RELIGION OF THE 
MONTH CLUB magazine 
for only 2 lousy bucks 
(cash) to Box 2430, Santa 
Clara, CA 95055. #18’s 
religion is “DOG, a 
concept by which we 
measure our nap” and 
16*s focus is “Holy 
Shit.. .the 2nd coming 
edition.” 

COMICS FOR BIG 
KIDS DEPT... The good 
folks at Fantagraphics 
sent me the current KID 
ANARCHY by George 
Cole and Mike McCarthy. 
Send one measley buck to 
Fantagraphics at 7563 
Lake City Way, Seattle, 
WA 98115 and they’ll 
send you two of the 
wildest comics catalogs in 



PSYCHOTRONIC • 18 




existence. They 
publish Peter 
Bagge’s HATE and 
Daniel Clowes* 
EIGHT BALL, so 
that oughta give 
you a firm idea 
of their coolness 
factor. Milo Manera 
is one of Italy’s 
finest erotic 
cartoonists and 
NMB recently 
published CLICK 2, 
the further 

adventures of 
Claudia, who 
becomes a 

“cauldron of lust” 
whenever anyone turns on the hormone implant in 
her brain with a little remote control gadget. Send $1 
to NMB, 185 Madison Ave. #1502, NYC 100016 for a 
catalog of their fine books. Ivan Brunetti sent BIFF 
BANG POW! 1-3, featuring crazed comics by a lot of 
Chicago area scribblers. $3.50 each to Ivan at 5110 
Hyde Pk. Blvd. #1 Chicago, 111. 60615. Dark Horse 
sent Richard Sala’s noir thriller THIRTEEN 
O’CLOCK 10956 SE Main St. Milwaukee, OR 97222 
for a Dark Horse catalog. Darren Merinuk sent the 
first 3 issues of his amazing ROCKIN’ BONES, a 
heady mix of “Monsters! Aliens! Rock ‘n’ Roll!” $3 each 
to New England Comics Press, Box 310, Quincy, MA 
02269. He also sent the ultra cool Canuck mag 
FRICTION, featuring a cover interview with that 
demon with a paintbrush - Robert Williams ($7.50 to 
Box 25055, 1650 Main St., Winnipeg, Manitoba, 
Canada, R2V 4C7. Send a SASE to Mikal at 249 S. 
Hwy. 101, #230, Solanda Beach, CA and he’ll send you 
info on DEWEY DE SADE comics, a rag that reflects 
necrophiliac tendencies. 

SHORT TAKES DEPT... Coop gifted me with a copy 
of CAD, Adam Parfrey’s “Handbook For Heels,” which 
employs such talents as Coop himself, Dick 
Blackburn, Daniel Clowes and others to pay homage 
to mid 50s era girlie mags like Gent, Swank or Rogue. 
$15 to Feral House, Box 861893, L.A., CA 90086. 
CYBER - PSYCHO’s A.O.D., came my way from 
Jasmine Sailing ($4 to her at Box 581, Denver, CO 
80201) and is billed as the “Guide to accessing the 
culture of the future, without the long wait.” Don 
Campbell sent copies of his thoroughly psychedelic 
drenched mag HELTER SKELTER. Box 6127, 
Dunedin North, Dunedin, New Zealand. Another acid 
influenced zine reached me via Aaron Lee and 
includes coverage of porn star Jerry Butler, Lisa 
Suckdog and other twisted topics, $2 to Aaron at 603 
E. Main St. #2, Lexington, KY 40508. HELLGATE’S 
CAULDRON is a “magazine of Magic, Mystery and 
the Occult.” #3 features a Clive Barker interview and 
costs $4 from Anna Lascurain, Box 641, Lodi, N. J. 
07644. LATENT IMAGE comes from the Emerson 
College Fine Arts Society. Write them at 130 Beacon 
St., Boston, MA 02116 for the straight dope. Send 
$1.25 in “Cash, stamps, trade or your first born child” 
to Raisn Blowme and the dude will send you his very 
strange BUFALOON NEWSLETTER. 31 W. Northrup 
PI, Buffalo, NY 14214. Into chaos? Send a buck to Rev. 


El-Ran Wighat, Box 2164, Kingston, Ontario, Canada 
K7L 5J- and he’ll send you the DISCORDANT LIFE 
AND REALITY EXAMINER. Send a buck to Brett 
Leveridge for a sample of BRETTnews, an eclectic mix 
of mondo news offerings and “a pretty darned good 
read.” MOSHABLE is a music zine covering stuff like 
Mudhoney, L7, Helmet.. .Lars Krogh, Poste Restante, 
Algades Postekspedition, 9008. Alhborg, Denmark. 
Thanks to Hans Siden for the comic novel IN 
MEMORIAM, which made me wish I could read 
Swedish. I met the inimitable Tuppy Owens in New 
Orleans over Christmas and she gave me her fab book, 
THE POLITICALLY CORRECT GUIDE TO 
GETTING LAID. $1 to Box 4ZB, London WIA 4ZB, 
England for U.S price info on her line of products. 

In San Francisco, check out Naked Eye News And 
Video at 533 Haight St. and say “Hi” to owner Steve. 
While in Hollywood, don’t miss the madness that 
thrives over at Mondo Video A Go-Go, 1724 N. 
Vermont. Owner/evangelist Robert and crew got the 
goods. That’s a wrap for now. Stay regular and keep 
those parts coming. 


We also received: Tons of comix from Malibu. They’ve 
done Full Moon movies tie ins plus comic versions of 
BLOOD FEAST, PLAN NINE, REANIMATOR, 
PLANET OF THE APES and many many more. (5321 
Sterling Ctr. Dr., Westlake Village, CA 91361). EL 
LOCO is an illustrated catalog of great looking Mexican 
lobby cards (from all kinds of movies and from various 
countries) for sale. $3 to Kicks, PO Box 646 Cooper St., 
NYC 10003. More fine Kitchen Sink card sets: MAN 
BAIT (vintage bad girl movie posters with annotation by 
Michael Barson) and MORE HOLLYWOOD 
CHARACTERS (artist renditions of character actors of 
the past). And: MONK, published from the traveling 
“Monkmobile.” It’s found on newsstands. VERA KRANT 
is a music monthly (in Dutch) that also has movie 
articles. Vera Oosteerstr. 44, 9711 NV Groningen, 
Holland. BOGUS is still $1. It’s all bizarre newspaper 
articles. 14227 Eventide, Cypress. TX 77429. 
EYEWASH is from Phil Snyder, Cyclone Pub. PO Box 
20013, Dayton, Ohio 45420. One issue features a good 
article on psychos in movies (not the ones you’d expect). 
PANTY LINE FEVER #4 ($3 to 234 E. 7th St. #1FE, 
NYC 10009) covers sex, comix and Harvey Keitel in 
THE BAD LT. DOG comics are $2.5 from Rebel Studios, 
4716 Judy Ct., Sacramento, CA 95841. CULTURAL 
JETLAG comics are 
$2.50 from Fanta- 
graphics (see 
address above). 

Murad Gumen’s 
WONDERGUY is 
a comic that is also a 
movie. $6.50 to Take 
Twelve, Box 8218 
Junction Blvd. 

Station, NYC 11372 
for a copy. KUNG 
FU ZOMBIE #1 
features Negative- 
land and is $1.50 
from 525 NW 19th 
Lane, Gainsville, FL 
32609. 




PSYCHOTRON1C • 19 






#5 Julie Adams interview. Jose 
Mojica Marins interview. 
David Carradine Pt. Two, 

After Kung-Fu. Boris Karloff 
in Mexico. MACUMBA LOVE 
Cover! ($10) 




#10 Fred Williamson interview-! 
Florida’s William Grefe, 
director of DEATH CURSE OF 
TARTU! WEREWOLVES ON 
WHEELS cover! (Only $4) 


#12 Interviews with Tura 
Sauna!. Titus Moody & John 
Philip Law. History of 
Fanzines. (Only $4) 


#3 History of MON IX). Part 
One. Interviews with Sid Haig 
and Wings Hauser. The 
Electric Eels and Tangerine 
Dream. SAD1SMO 
Cover. ($6) 


#4 David Carradine interview 
Pt. One. MONDO Movies Pi. 
Two. James Hong interview. 
PSYCHOTRONIC goes to 
Brazil. KUNG-FU Cover. ($6) 


#8 Second Anniversary 
Issue! A.C. Stephens, Russ 
Tamblyn and Lawrence 
Tierney interviews. “What 
is it?” Cover. (Only $4) 


#9 Exclusive James G>bum & 
John Agar interviews. The 
amazing DEATHSPORT letter 
and tasteful WILDWEED cover. 
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#1 1 John (Gomez) Astin. 
Sammy Pctrillo and Larry 
Cohen. Censored Drew 
Friedman art. SEX KITTENS 
GO TO COLLEGE cover. 
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THE PSYCHOTRONIC 
ENCYCLOPEDIA OF FILM!!! 

Over X00 illustrated pages! Over 
3(100 reviews! Over 30.000 sold! 
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PSYCHOTRONIC CALENDARS 
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1992 - Only $2 plus first class 
postage ($4 total). 

1993 - Now only $5 plus first 
class postage ($7 total). 

Buy both for $10 total. 


#6 You won’t believe the 
amazing Timothy Carey, Susan 
Tyrrell, and Luigi Cozzi 
interviews. BLACKSNAKE 
cover! (Almost gone! — $15) 


#13 Interviews with Jack Hill 
and Zalman King! Twistin’ in 
the Jungle trash comp LP 
guide. Barbara Steele cover. 
(Only $4) 


#14 Incredible Spook Show 
Racker feature! The late 
Timothy Farcell speaks! Brad 
Dourif and Roberts Blossom! 
Original Drew Friedman 
cover! (Only $4) 


#2 Joe Spinnelli’s last interview. 
Ghoulardi and The Ghoul. 
Cleveland's legendary horror hosts. 
Davie Allan of The Arrows 
interview. Robert Wise interview. 
THE BEAUTIES AND THE 
RFASTfWH ($6) 


interviews. Fanzine guide. The 
incredible David Carradine letter! 
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PSYCHOTRONIC • 21 





Fargas in London (67) 

Antonio Juan 
Fargas 

How Huggy Bear Made It 
To Hollywood Squares 

Interviews by Anthony Petkovich, Derek Johnson 
(and Chris Davidson) 

Antonio Juan Fargas was born (August 14, 1946) in the 
Bronx and raised in New York's Chelsea area. “I was one of 
eleven children. My father is Puerto Rican and my mother 
(Mildred Bailey, a dancer) is of West Indian extract. I was always 
sort of the sensitive one who could solve everyone else’s 
problems. When I look back on it now, I think we were a 
bit of a dysfunctional family and I was sort of the 
caretaker or adult child. As far as acting goes, my first 
recollection goes way back. It kind of caught me by 
surprise. You see, my mother tells me that when I was an 
infant and I cried, it sounded like I was singing. I had this 
great crying voice, you see. So she kind of thought of me 
for this business." He played Hamlet in high school and 
received a New York State Scholarship in Drama for his 
monologue from the writings of Frederick Douglass. 

A talent search was held for Shirley Clarke's THE 
COOL WORLD (62) to be filmed on location in Harlem. 

“When I was 13, there was an ad in the newspaper (The 


Amsterdam News). They were looking for some men to play in 
this film about gangs. So, I went down at my mother's urging to 
try out for this thing." Fargas auditioned for the lead but was 
hired for a smaller role, starting his professional acting career at 
14. “It blew me away that I would be able to sit in a movie 
theatre, watch the screen and see myself up there like John 
Wayne. It was quite overwhelming and very attractive to me. And 
I always tell young people when I talk to them in schools today 
that it was because I could read well that I was able to get the 
part." COOL WORLD, the acclaimed, black and white 
documentary-style look at the Harlem “Royal Pythons" gang was 
released by Cinema 5 in 64. It’s based on a 59 novel by Warren 
Miller. Dizzie Gillespie played on the Mai Waldron soundtrack, 
which was issued by Philips. The cast also included Gloria 
Foster and future MOD SQUAD star Clarence Williams III as the 
Python leader, Blood. Clarke's best known other feature was 
PORTRAIT OF JASON (67). Producer Frederick Wiseman also 
made the banned documentary, TITICUT FOLLIES (67). 

THREE, a 52 minute black and white film made about the 
same time (by the New York State Narcotic Control Commission) 
stars Fargas as one of three addicts whose case histories are 
analyzed. It was released to theatres in 69. Fargas went on to 
study at the Negro Ensemble Company and at Actor's Studio and 
made his Broadway debut playing a 90 year old witch doctor in 
“The Great White Hope" starring James Earl Jones. 

“When I was 18, I tried out for a James Baldwin play 
called “Amen Corner."! got the role as a juvenile lead and we 
opened in Vienna in June of 66. 1 couldn’t go to my graduation 
because I had to be in Vienna. That was a great experience for 
me. There was a lot of things going on at the time. A lot of blacks 
were getting into theatre, coming into theatre off-Broadway, and 
of course, after the Civil Rights movement, many productions in 
Greenwich Village were reflective of that struggle. My peers at the 
time, Lou Gosset, Billy Dee Williams, Adolph Caesar, Robert 
Hooks, all of these theatre people were in New York at the time 
and we didn't have that many film images to look up to. Sidney 
was just starting to take off and become a big star in Hollywood, 
but he was really the only black actor at the time. The strong 
actors, the vital people (were the ones) who were doing it in the 
theatre." 

“Today, I know my growth as an actor is through the 
classics on stage and through language. I think it was a natural 
development. I did some small roles in Joseph Papp productions 
of Shakespeare In The Park. There was a lot of this liberal, 
unconventional casting going on, so we didn't just get one side 
of the picture in terms of representation of our race. It was a very 
rich and nurturing period, what with the works of LeRoi Jones 



PSYCHOTRONIC • 22 





Antonio in FOXY BROWN 

and plays like “The Blacks" by Genet. We were able to do a lot ot 
things. Not mostly in the heavy commercial areas, because it 
wasn’t done yet. But in the theatre, there was an across the board 
access to the classics as well as to the stuff we did.” Fargas was 
also in the first all black production of “The Glass Menagerie" 
plus “Mod Hamlet" (with Cleavon Little) and Romeo And Juliet 
(with Martin Sheen), both produced by Papp. “My peers and I 
were starting at the beginning of the hippie situation. The 
rebellion of music and dress reflected in how we looked at things. 
We had the freedom to be able to do what we wanted to do, under 
the guise that we were artists.” 

Robert Downey’s PUTNEY SWOPE (69), shot in b/w (with 
some color) was a very funny satire about what happens when a 
black man takes over a Madison Ave. ad agency. Fargas co- 
starred as “the Arab," a terrorist. “I think the film was in trouble 
when we shot it. I don't think the lead character was saying 
everything that Bob (Downey) wanted him to say, or the way he 
wanted it said. It was very much a sketchy, improvised story. I 
don’t want to say it was that loose, because it was Bob’s vision. It 
was just a matter of interpreting that. He used my character of The 
Arab as the conscience of the film. We sort of clicked in terms of 
me being able to deliver what he wanted. Robert Downey Jr. was 
just a little kid running around the set. We joke about that when I 
see him. He’s come a long way. I think Bob Sr. was ahead of his 
time, kind of a genius to a certain degree. He wasn’t difficult to 
work with, but he, like a lot of directors, had to find people who 
could speak his language. So he had an ensemble of crazy, 
talented actors around him. And I was one of them. There was a 
scene where I threw a Molotov cocktail into a huge money bin. 
And every time we did it, the bin was supposed to catch fire. And 
everytime I threw in the cocktail, it never caught. I finally said, 
‘Look, it’s getting late. Put a lotta gasoline on the thing. ..on the 
money.’ Bob agreed, and on that shot we had two cameras going 
and when I threw the cocktail this time, it just exploded. 
Everybody ran. I ran. Then I ran back and the thing was still 
blazing. In all of the excitement, somebody pulled the plug on the 
cameras. But one was still rolling. I did my schtick in front of it. 
Meanwhile, the fire department came and there was some talk 


about a few people being taken 
downtown. It was a real interesting 
evening.” Arnold Johnson starred 
(but Downey later admitted that he 
dubbed the voice for the character.) 
Cinema 5 released the underground 
hit. 

Downey also cast Fargas in 
his next film, POUND (70), as a 
greyhound. “It was a really bizarre 
film. We did that one in New York 
too. Everyone in the movie 
represented a dog. I was an over- 
aged greyhound. And we were in a 
place, a sort of limbo, before we 
would be put to death. There’s a 
scene after we die where we're in 
this cloud, kinda dog heaven or 
something. I remember doing a 
scene where we had to run around 
this room which was the pound, 
itself. We were running around in 
these tu-tus, like ballerinas. That was pretty wild.” The color 
United Artists release was given an X rating by the MPAA. Some 
other dogs were played by Charles Dierkop, Marshall Efron and 
Don Calfa. 

Donning his shades (as in PUTNEY SWOPE), Fargas had 
a small role in the groundbreaking MGM boxoffice hit SHAFT 
(71), directed by Gordon Parks Sr. He plays Bunky, the hip 
intormant who puts Shaft onto the Mafia’s scent. “He (star 
Richard Roundtree) was new. A New York model at first, then he 
started studying theatre and got the lead in this film because they 
needed a handsome face for this Shaft role. I only had that one 
scene with him and he was very gracious and just trying to go 
into Park's direction and make it into something.” SHAFT allowed 
Fargas to establish his streetwise persona, later expanded on 
STARSKY AND HUTCH. The famous double Isaac Hayes 
soundtrack was issued on Enterprise and made it to #1 on the 
charts. CISCO PIKE and BELIEVE IN ME were both about drug 
dealing and addiction. 

ACROSS 110th ST. (72), directed by Barry (WILD IN THE 
STREETS) Shear was an excellent violent action movie starring 
Anthony Quinn (who co-produced) and Yaphet Kotto as two 
police detectives. Fargas and two others blindly rob a Harlem 
numbers racket while disguised as cops and are systematically 
hunted down and “crucified" by the Mafia. Anthony Franciosa 
and his goons beat him and literally castrate him. “That film was 
strong and well balanced in terms of black perspective and the 
white perspective, and how they clashed. And the heat that was 
produced. You have the same thing in a lot of Spike Lee's films 
today. It was very much a microcosm of what was going on at the 
time. The film has a very good pace to it. Tony Franciosa gave a 
very credible performance as the standard bearer for the Mafia 
side. That was also very important for me for many reasons 
because Barry Shear also directed the pilot for STARSKY AND 
HUTCH and specifically requested me for the part of Huggy Bear, 
based on my work in ACROSS 110th ST. It was known as an 
action film and 'stunt men beware.’ I thought it had a lot of 
balance too, especially between the two warring factions of 
Franciosa and and my friend Dick Ward. Dick was the original 
Captain Dobey in the STARSKY pilot, but was eventually replaced 


PSYCHOTRONIC • 23 




ruffled shirt and walking stick, working for the evil “Mommy" 
(Shelley Winters) but trying to start his own drug business. “I 
was cast in the film in New York and they flew me out. Actually, I 
was used in the screen test. They were trying to find a woman to 
play Cleopatra Jones. So I was used in the test for a lot of 
actresses to try out for the film. Jack Starrett was a lot like Barry 
Shear and Robert Downey rolled into one. Fun guy. Very easy to 
work with. My other co-star Tamara Dobson, I really don't know 
what she’s doing now. I think she just became disenchanted with 
the opportunities that were available for black actresses. There 
just wasn’t any work for them, not enough to support the number 
of people out there. I admire people who take a realistic look and 
say, ‘Hey, why keep beating my head against the wall when 
there's nothing out there?’" The 6’2" Dobson returned in 
CLEOPATRA JONES AND THE CASINO OF GOLD (75) and was 
later in CHAINED HEAT (83). 

“Doodlebug” was one of Fargas' great scene stealing 
characters. “A lot of times I bring humor and pathos to the 
characters I play. I used to try to shy away from thinking about 
the funny or the comedic side of what I do, because I consider 
myself a serious actor. You know, my face can be many different 
things - very expressive. And to be able to not so much control it, 
but be aware of that and make it work for me is what I finally 
started to get a handle on in this picture. And thank goodness, I 
didn’t have to think about those things. I just let them happen and 
let the camera find the different things and hope that it worked for 
the film.” 

BUSTING (U.A), was a comedy with vice cops Elliot Gould 
and Robert Blake busting gay bars. Fargas played a gay man who 
bites Blake’s leg. “A lot of times I was hired because I was the 
one who would take those kinds of chances. I can’t get better at 
my craft, sitting home and saying, 'I’m not going to take that role. 
That’s not big enough. I’ll wait for something else.’ Especially 
when you're a character actor. I’m not a leading man type. And I 
have to go out there and work.” 

FOXY BROWN (AIP), was Jack Hill's followup to his 
COFFY. Both starred Pam Grier. Fargas played her no good, back 
stabbing, coke dealing brother, Link. "You just sort of churned 


CAR WASH — Note sexy bitch necklace 


by Bernie Hamilton. Quinn was a very intimidating but kind man. 
Intimidating for us, because he was a big sfar, he’d been around 
for so long and he had a lot to do with making the film 
successful. The other two guys whom I committed the robbery 
with in the film, well, I was sort of their idol, because I'd been 
around a little bit and had done some film work before. So they 
kind of looked up to me. We all met to try and get some things 
that we wanted in the script in terms of what we thought was real 
for these characters. Quinn charmed us out of most of our ideas 
(laughs) and convinced us “technically" why it should be the way 
it was. They had a great soundtrack by Bobby Womack (issued by 
U.A.). Somebody told me that Elvis’ girlfriend said he used to 
love this film. Every time he 
would keep playing back that 
part (where Fargas preens in 
front of a mirror after the heist), 
you know, with the coat. And I 
guess he kind of liked the jacket 
I wore. That always made me feel 
good, like (doing Elvis 
imitation), 'Shazaml, Hot damn!, 

Hey!, Hey, play that back!'" 

Fargas went to Hollywood 
with his (now ex) wife Katie for a 
play and made his TV debut on 
THE BILL COSBY SHOW. His 
first West Coast feature was Jack 
Starrett’s CLEOPATRA JONES 
(Warners) starring Tamara 
Dobson as a Federal agent. 

Fargas was “Doodlebug" with 


Fargas and Tom Towles 
in THE BORROWER 


these things out. You didn't even think about them. You were just 
very glad to be working. Hopefully some of the directors 
remember me more than I remember them (laughs). A lot of the 
time, I didn't have to have that much interaction in terms of 
direction, because, I knew what my role was. I was a good role 
player. I’m hired because I bring a certain thing to a movie that, 
hopefully, no one else can bring. So I looked at FOXY BROWN, 
not so much that I was doing them a favor, but I was there to do 
my job and did it to the best of my ability. Most of the people 
who made the most money from the black exploitation movies 
were the white film companies. And the fact is that there was no 
followup for these films. Once they realized that blacks would 
flock to the movies in droves to see themselves on the screen, it 
became too volatile, too much of a threat. So, a lot of film folks 
turned their backs. In a capitalist society, when folks turn their 
backs on money that can be generated, it must be something 
deeply rooted, probably in racism.” Willie Hutch was on the 
Motown soundtrack. 

Martin Ritt's CONRACK stars Jon Voight, teaching black 
children on a remote South Carolina island. Fargas is a fable-like 
figure, Quickfellow and used an exotic dialect. “It’s kind of like a 
Caribbean accent, but from North Carolina. It's called Geeche or 
Gulla. ..kind of like an African accent, but with this sort of 
Caribbean lilt to it. When 
people ask me, ‘What is 
your favorite role?’, for a 
long time, I mentioned that 
one because it was the kind 
I wanted to see more of. 

THE GAMBLER, 
directed by Karel Reisz, 
starred James Caan. “When 
we were making the film, I 
was really struck by the 
beauty of Lauren Hutton, 
wishing I could have had 
some scenes with her 
(laughs)." It marks Fargas’ 
first screen appearance as a 
pimp. “If you are observant 
to your environment, you 
draw on it as an actor. I 
lived in New York and grew 
up at a time when pimps 
were very visible in terms 
of their flair and lifestyle. If 
an actor does his 
homework, he's always watching, picking up and learning 
nuances and so forth." 

HUCK FINN was a TV movie with Fargas as Jim. “I played 
Jim and it was an interesting way to do it. Robert Tottin directed. 
He directed a lot of GUNSMOKEs and what not. Ron Howard and 
Danny Most of HAPPY DAYS played Huck and Tom. It was a 
great experience to work with Ron and to play Jim the way he's 
never been played before, I played him younger.. .and skinnier." 
Royal Dano appeared as Mark Twain and Jack Elam and Merle 
Haggard were in the cast. 

William Blinn’s long running ABC action drama series 
STARSKY AND HUTCH brought Fargas’ mug into the homes of 
millions of television viewers, making his face, if not his name, 
instantly recognizable for years to come. “We did the pilot in 74. 


It put me in the world’s eye. It’s been syndicated in over 100 
countries. I'm very popular in France, Germany, Spain and 
England. People keep telling me that Benny Hill did a take-off on 
STARSKY AND HUTCH. I mean, there was a time in 1976, when 
you could have went anywhere in America, in any urban town, 
and probably found four or five Torinos painted red with a white 
stripe on them. It's funny, because people walk up to me on the 
street and try to talk like I talked on the show, or they ask me, 
‘Where's those clothes?', I mean, they still think I dress that way! 
That's why I think it’s good, that I'm conservative off camera. This 
is also politically good and educational for my ethnic brothers, as 
well as for others. Sure, it’s a compliment to walk down the street 
and have people call me Huggy Bear. I have to have my wits 
about me. But I’m not at all bothered by it. All I say is, ‘My name 
is Antonio Fargas,’ and I think that is sufficient. I mean, some 
people still think I LOVE LUCY is still in production!” 

NBC attempted twice to star Fargas in his own show. Both 
times he was a detective with a partner. ADVENTURING WITH 
THE CHOPPER (76 NBC), was to be a half hour comedy series. 
He was teamed with (black actor) Harrison Page. HUGGY BEAR 
AND TURKEY, a 77 episode of STARSKY, was a more serious 
hour-long pilot starring Fargas and Dale Robinette. Viewers must 
have been confused, because the “normal” Huggy Bear returned 

soon after on STARSKY... 
Fargas also appeared on 
other popular series at the 
time. He was on KOJAK. 
“Everybody wanted to work 
on that show. I played a 
guy who wore some 
platform shoes that got left 
behind at a murder scene. 
We had a scene, which was 
created on the set, where 
he gives me a lollipop. I 
had it in my mouth the 
same way he had it in his 
mouth, and we looked at 
each other and there was 
this look that went down 
between us, because we 
were eating the pops the 
same way. It's just 
something that happened 
on the set and I'll always 
remember it." THE NIGHT 
STALKER appearance was 
a voodoo and zombie episode. “I didn’t really understand what 
the NIGHT STALKER was about. But it was nice to work with 
Darren McGavin because I remembered him from MIKE 
HAMMER. He was someone I admired from my early childhood 
television watching days. Nice guy." 

CAR WASH was a major hit, directed by Michael Schultz. 
“CAR WASH was the first of its type, a successful, music- 
oriented drama. It was the second time I worked with Michael 
Schultz. He first directed me in a play I did our here called 
“Dream On Monkey Mountain." He’s very good. A sensitive man. 
Very gifted in his craft and still growing. I think Richard Pryor 
was hilarious. I loved watching him do his bit. We worked 
together briefly. He was at the height of his career at the time. 
And the Pointer Sisters, you know... it was great. Some movies 



PSYCHOTRONIC • 25 


get bigger than others, and you can’t tell which ones are popular 
until you get out in America. After a tew years with CAR WASH, I 
realized the movie had become big. And it stands up today, the 
great music blended to the dramatic story and the comedy." 
Fargas played a very outrageous gay character named Lindy. “I 
tried to bring out the humanity of these people. What I hate to 
see, especially since I’ve played a few gay roles, are people who 
you can tell are actors doing these sort of parts. You can tell they 
are acting at it." The hit double CAR WASH soundtrack by Rose 
Royce was on MCA. 

Fargas played another gay in Paul Mazursky’s NEXT 
STOP, GREENWICH VILLAGE, his second feature with Shelley 
Winters, who is known to be “difficult.” “Well, you know, she's 
from the old school. Came up from the whole starlet system. She 
was very opinionated about how she wanted to be treated and 
how she interpreted the work. I think one has to defer sometimes, 
be it a director or a producer, if you want some of these people 
who have been around in the business so long to work with you 
and get the job done." 

In Louis Malle's PRETTY BABY, Fargas had a good role as 
The Professor (very much like Jelly Roll Morton) playing in a 
New Orleans whorehouse. “That was a strange movie and it 
stirred up more controversy than was necessary. The news of 
Brooke Shields being 11 or 12 years old and playing a prostitute 
drew a lot of focus away from what was really up there on the 
screen. I thought it was a beautifully shot picture. When I went 
down to New Orleans, I was indoctrinated in the Jelly Roll Morton 
thing, listening to the tapes he recorded for the Library Of 
Congress... the Lomax tapes." 

UP THE ACADEMY was a return for director Robert 
Downey. The unsuccessful comedy was backed by Mad 
magazine, but they soon disavowed it as did star Ron Silver. 
“That's one everybody sort of wants to disown. I don’t like 
disowning anything. It's out there. You do it. And you try to be as 
proud of your work as possible.” 

A 78 “Black American" article said that Fargas “lives in 
Hollywood, drives his jeep in the desert, studies martial arts and 
enjoys horseback riding." In a 79 New York Post issue, Fargas 


said, “Just once I’d like to have taken the director of that series 
around the street with me, to see the recognition I have - and then 
ask for more money. I ought to do one of those American Express 
commercials, ‘Hello, you may not know my name, but.. .'"After a 
lot of protests, the violence was toned down on STARSKY AND 
HUTCH. "It got so bad that somebody had to be a real bad guy to 
get killed. And that's when it lost some of its popularity and it 
went off.” There were other perks to the fame. “Having a doll 
made in my image, being on HOLLYWOOD SQUARES and 
having a record on a jukebox were three highlights of my career. 
That was ground breaking for me. In fact, my sons tore apart my 
last Huggy Bear doll. I wasn’t offered a thousand different scripts 
to do another series. I was pigeonholed. So I left. I wanted to 
raise my children in the East. And I also wanted to get back to 
theatre. I didn't want to sit by the pool in the backyard waiting for 
the phone to ring. I wanted to participate and get my theatre 
muscles back in shape. Rhode Island is where I ended up." 

He also later ended up on the soap opera ALL MY 
CHILDREN. “Well, I didn’t like the whole idea at first, but it was 
one of the hottest shows on daytime TV. I was living back East 
where they film it and I said, ‘Why not?', because I wanted to 
broaden my experience. It was a challenge. But as soon as I got 
comfortable with my character, the writers of the show killed him 
off (laughs). My character started out as a very protective father 
who wanted more for his daughter than the streetwise character 
she was in love with could offer. My character becomes 
progressively demented (laughs) and finally ends up running a 
baby-stealing ring. And that was the end of his storyline. I did it 
over a period of three years. 

In one TV movie, THE AMBUSH MURDERS, Fargas 
played a transsexual. “I’m basically a character actor, so I feel the 
more I can get away from that the better. And to play a character 
like that with big breasts, half man, half woman, was a challenge. 
If was a sensitive role, because it was someone you cared about. 
It was about a black guy accused of killing a cop, sort of like a 
Bobby Seale kind of situation. I think it was actually taken from 
some incident like that." 

FIRESTARTER was a Stephen King adaptation starring 


ANTONIO FARGAS FILMOGRAPHY 

64 0001 WORLD 
II THREE ; ' 

69 PUTNEY SWOPE (RCA) : 

IjPTHREE % 4' l' 

fi POUND 

71 SHAFT (MOM) t 
ill! CISCO PIKE " ' : 

72 ACROSS noth STREET 

K CLEOPATRA JONES (Warner) 1 
-1 BUSTING ' 

74 FOXY BROWN (Orion) 

m THE GAMBLER (Par.) I! iiif ' - ; 

75 VIOLENT SUNDAY (ABC STARSKY AND : 

.v HLrrOHpiftt) 

STARSKY AND HUTCH (ABC series, till 1979) 
H CORNBREAD, EARL AND ME (HBO) I 
HUCKLEBERRY FINN (ABC TV) 
m CAR WASH (MCA) *1 
11 NEXT STOP. GREENWICH VILLAGE 


1. 78 PRETTY BABY (Par.) 

SO UP THE ACADEMY (Warner) 

ESCAPE (CBS TV) 

NURSE (CBS TV) 

82 MODEL BEHAVIOR (Vestron) 

■ THE AMBUSHMURDERS(Frtes)(CBSTV) 
IlIIlALL MY CHILDREN (ABC soap, to 8® It 
lit PAPER DOLLS (ABC TV) 

84 FIRESTARTER (MCA) 

A GOOD SPORT (CBS TV) 

111 851 STREETWALKIN’ (Vestron) 111 

86 FLORIDA STRAIGHTS (Orion) (HBO TV) 

I 87 NIGHT OF THE SHARKS (Italy) (Edie) II! 
It 88 SHAKEDOWN (MCA) 111"!.' 

89 I'M GONNA GIT YOU SUCKA (MGM) 
lliti i THE BORROWER (Wamet) ill. 

VENGEANCE IN LITTLE SAIGON (no release) 

90 HOWLING VLTHE FREAKS (IVE) 

91 WHORE (Vidmark) 

And On; THE BILL COSBY SHOW, POLICE STORY. 
TOMA, POLICE WOMAN, KOJAK, IRONSIDE, THE 
NIGHT STALKER, CH.PS, MeGYVER 


PSYCHOTRONIC • 26 


little Drew Barrymore. “I had a small role 
in that one. I made some nice money, 
though, because they had to keep re- 
shooting the scene. I play this cabbie 
who has to take Drew Barrymore and 
David Keith to the airport and they push 
me to believe that a dollar bill is a $500 
bill.” STREETWALKIN’ was a Roger 
Corman production. “I didn’t have that 
much to do. I played a pimp.. I’d like to 
be in the big house on the hill, saying, 

‘Yes, I was pigeon-holed, typecast,’ and 
in the meantime, be making a film every 
three months and visiting the bank just 
as regularly (laughs). 

"When I went back East recently, I 
knew I had to get my theatre muscles in 
shape, because they get atrophy when 
you’re working in film and not dealing 
with the demands of what a play requires. 

I worked my way back into shape and 
ultimately finished that period by doing a 
one-man show. It was a great experience 
for me. I love theatre and as I’ve said, the things I'm offered in 
film are not always growth opportunities." 

In the HBO movie FLORIDA STRAITS, Fargas was “El Gato 
Negro," a Spanish speaking sadistic guerrilla soldier with a 
goatee. “We shot FLORIDA STRAITS at one of the most 
expensive sets ever built, although it wasn’t made specifically for 
that movie. It was an unfinished nuclear power plant down in the 
Carolinas. I think they spent something like 50 or 60 million on 
it. In one scene, they had me blasting a hand-held machine gun 
at Fred Ward from a distance of 100 feet. If you were two miles 
away, it would be easy enough to get hit by those bullets.” In 
NIGHT OF THE SHARKS, another movie about a search for 
hidden gold, Fargas plays the Cuban sidekick to Treat Williams. 
“You saw that!? Although it was actually filmed in The Dominican 
Republic, it was made by an Italian film company. Again, through 
the popularity of STARSKY AND HUTCH, the director wanted me 
for this role. It took about a month to film. It was a great chance 
to travel. I found a friend on the set, who died shortly after the 
film, Chris Connely. He played the father, the padre. He helped 
me get through that one. He was a great help.” 

SHAKEDOWN was a good James Glickenhaus action 
movie starring Peter Weller. “That was one of those genre things 
where they wanted someone who had past experience in terms of 
playing these kinds of things, in this case, an upscale type of drug 
pusher." In THE BORROWER (PV #11), Fargas is a homeless man 
whose head is ripped off and used by an alien. “Did you ever see 
the HENRY film? Well, the director did that too. I play this street 
person whom the Borrower takes over and it’s really comedic with 
great make-up. The whole special effects thing was great, to 
finally work with bladders. And my head explodes!" 

Keenan Ivory Wayans’ I'M GONNA GIT YOU SUCKA 
featured John Vernon as Mr. Big and Fargas as Flyguy, the now 
out of touch “Pimp Of The Year.” In one of the funniest scenes, 
Flyguy, just out of jail after a long sentence, struts down the 
street while everybody stares in amazement at his clothes - and 
his fish filled platform shoes. “The platform shoes in one of my 
scenes were very heavy and they leaked. We had two different 
kinds ot shoes. For the far shots, they were plexiglass. And we 


used the shoes with the goldfish in them 
for the close-ups. I created the pimp 
“walk" in terms of the beat of the 
soundtrack they were playing. The 
general awkwardness of the shoes 
actually helped me in that sense. 
Keenan came from the same 
neighborhood in New York that I did. 
Keenan was great to work with, It 
worked out well for both of us. I’m just 
pleased for him and glad to know I 
played a significant part in the success 
of SUCKA, which I’m sure helped him 
get a great deal at Fox (with IN LIVING 
COLOR). I think SUCKA closed the door 
to blaxploitation by putting it in 
perspective. To be able to watch the film 
and laugh was important. We who 
worked in the field were too close to it to 
see the humor. In SUCKA, we really 
stretched it out, extended it, and said, 
‘Okay, that's done.’” 

In HOWLING IV (PV #10), Fargas 
plays a geek. WHORE by Ken Russell, stars Theresa Russell 
talking to the camera, and Fargas is excellent as her pot smoking 
friend. “It’s almost like when I did PRETTY BABY, because of the 
subject matter and the controversy of using a young girl as a 
prostitute. When PRETTY BABY first came out, it wasn’t as 
hardcore as people expected it to be. It was a sensitive subject. I 
think with WHORE, it’s the same thing. Not only is it 
controversial because of Ken Russell’s reputation and genius, but 
the subject matter and the style in which the film is done is very 
different. So, I think it counterbalances PRETTY BABY because it 
just the other side of the tracks. I play a street character, yeh. 
Well, what happens, symbolically, because Ken Russell deals 
with a lot of symbolism, is my character sort of plays Theresa 
Russell’s guardian angel who saves her at the end of the movie. 
In a lot of my films, I’m the victim. This time I’m the victimizer.” 
WHORE is available in a ridiculous number of video versions: 
unrated, NC-17, R and under the chicken shit video store title IF 
YOU CAN’T SAY IT, JUST SEE IT. 

Fargas is planning his own film company, Lone Lion 
Productions. “It’s called Lone Lion, because I’m a Leo. If all 
things go right, my manager and I plan to produce films. I want 
to do commercially viable products, because everything has to 
do with financing. I’m starling to have a great respect for writers. 
And with a little structure and work, I think I can write 
screenplays. I’ve also had enough experience in the business to 
know I can direct too, so between writing and possibly directing, 
I have a full plate.” 

“I feel I'm maturing as an actor and as a human being, and 
hopefully, this will be reflected in the product I put out. I'm on a 
ten year plan. In ten years, I’m cashing in my chips and looking 
for a bed and breakfast and a fishing boat in the Caribbean. I just 
want to collect the checks and fish the waters. I like all kinds of 
fishing, but I like bass fishing the best. I have all these things that 
I would love to do. I'm the kind of person who has to have the 
right set up. I've had this vision of myself in a library with all the 
books I've never read, all the records I’ve never played, wearing 
my smoking jacket.. .you know what I mean?" 



With Brooke Shields in PRETTY BABY 


2 7 


PSYCHOTRONIC • 




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A COLOR 1971 



ALL vmm AH WHO IACH 
PltAU¥AK[AUCHlC*SQA 
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PO BOX SJM 
SfATTlf WA 9t/33 
206 361 375* 
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THE ABOVE VOlUVESCOME COM- 
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All orders shipped UPS 6rojro. Please allow 3-4 weeks 
for delivetY. Persona! checks must clear before sHij 
Please add 3.00 postage for the first tape; I.SO for each 
additional tape. For overseas orders, please ADO $7per 
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BAD TASTE FROM NEW ZEALAND 


Peter Jackson 

Interview By Edouard Dauphin 

I n his native country, they call Peter Jackson “the 
Sultan of Splatter.” That country is New Zealand, 
where Jackson, now 31, first surfaced with BAD 
TASTE (Magnum, 87), a gory, action, science fiction 
comedy with no female cast members. Jackson was 
producer, director, co-writer, co-editor, in charge of FX 
and played two roles in his 16mm debut which was five 
years in the making. The soundtrack, by Michelle 
Scullion (theme by The Remnants) is excellent and was 
issued on a picture disc in Germany. Begun as a short in 
1983 while Jackson earned a living as a photo engraver, 
the film was shot “every Sunday” with a 25-year-old 
16mm camera. By 1986, Jackson had 75 minutes of 


BAD TASTE 
finished, funded 
entirely from his 
weekly wages. He 
quit his job after 
the New Zealand 
Film Commission 
provided money to 
complete the movie 
and BAD TASTE 
premiered at 
Cannes in 1988. 
(MEET) THE 
FEEBLES (89) an 
“adult puppet 
spectacular,” 
followed two years 
later, earning cult 
status if not a U.S. 
distributor. Bletch, 
a sea lion producer 
who also deals coke 
discovers then 
abandons Heidi, the 
Hippo star. 

Characters include 
a rat porno director, 
a fly tabloid 
reporter who eats 
shit, a frog heroin 
addict who has 
Nam flashbacks and 
the lone normal, 
shy hedgehog 
named “Wobert.” 
Jackson calls it his 
“ S P I u p e t ” 
( splat ter/m uppet) 
movie. Reportedly, 
Jim Henson’s 
daughter walked 
out of a screening in a rage. The Michelle Scullion 
soundtrack was also issued as a picture disc. “People are 
too terrified to release it in America,” suggests Jackson, 
“but it has its fans. A lot of people in Hollywood like it. 
They hand around cassettes.” DEAD ALIVE, Jackson’s 
latest and most lavish picture, released by Trimark 
minus an MPAA rating, is a splatter comedy that takes 
the zombie genre, yanks out its vital organs, and 
reinvents the concept of the living dead. 


I nitially called BRA1NDEAD (92), before a title 
search turned up a Roger Corman movie with the 
same name, DEAD ALIVE is a gore-swollen movie that 
aims for grins, gasps and groans and gets them in about 
equal measure. The U.S. theatrical release from Trimark 
is BRA1NDEAD minus 10 minutes of footage. Set in 
1957 in Wellington, New Zealand, it’s the story of 


PSYCHOTRONIC • 30 







Peter Jackson 


Lionel Cosgrove (Timothy Balme), a timid 25-year-old 
whose life is suddenly changed when his domineering 
mother Vera (Elizabeth Moody) gets bitten by a 
Sumerian rat-monkey and turns into an eyeball- 
popping, pus-oozing, flesh-eating zombie. Like some 
Down Under harbinger of Norman Bates’ mother, Vera 
refuses to remain dead, especially when she learns of 
Lionel’s fledgling romance with doe-eyed shop clerk 
Paquita (Diana Penalver) who, despite being alive, can 
hardly compete with Mom’s undying love. Vera’s 
subsequent rampage is the equivalent of a zombie chain 
letter, as each of her victims, once dead, soon returns to 
life, hungry to follow her example. The carnage goes on 
pretty much non-stop for the second half of DEAD 
ALIVE and includes what 
may be the first cinematic 
example of mass killing via 
rotary lawnmower. 


H is own press material 
says Jackson has “firmly 
established himself as the 
king of splatter gore,” but in 
New York for a brief 
stopover en route to the 
Sundance Film Festival, he 
is modest about reaching for 
such a lofty monarchy. “I 
guess 1 can be proud of a 
title like that, but 1 don’t 
know whether it’s true. I’m 
really a fan who is making 
films that 1 would like to see. 
To me, the kings of horror 
gore arc always going to be 
people I’ve admired, like 


FEEBLES suicide attempt. 


Sam Raimi, George Romero and Stuart Gordon. 1 don’t 
wish to be a pretender to their crowns.” 

J ackson is accompanied on his Gotham visit by 
Frances Walsh, who, along with fellow New 
Zealander Stephen Sinclair, scripted DEAD ALIVE 
with the director. Walsh, who has written extensively 
for New Zealand television and who met Jackson in 
1986, recalls the evolution of DEAD ALIVE as 
something of a voyage through theatricality. “Stephen 
Sinclair [one of Kiwi-land’s prominent playwrights] 
suggested to Peter that we develop this zombie idea, so 
we wrote a draft. It was quite dialogue-heavy. There 
were a lot of talking heads in rooms. Over the next 
three or four years, we realized that this movie was for a 
gorehound audience and they weren’t going to tolerate 
these seven-page scenes of people talking to each other. 
We cut it down and refocused it toward a more action- 
oriented script.” 


P ersuading the New Zealand Film Commission to 
fund the movie to the tune of $3 million (more than 
a third of its annual output) might have been trickier 
had not BAD TASTE, according to Jackson, emerged as 
the Commission’s most financially successful film. Still, 
Jackson admits, there were times when he could 
scarcely believe such an official organization was 
sanctioning a movie with that high a proportion of 
blood and gore. “The script had a lot of blood in it, but 
we didn’t really describe things in detail. We would 
have one sentence that would cover an entire sequence: 
‘Lionel grabs the lawnmower and dismembers zombies 
in all directions.’ We were hoping that people reading 
the script wouldn’t register what was happening. They’d 
just say: ‘Oh, lawnmower, right. ...zombies, ah, 
yeah....hmm, that’s a bit gory....’ What we put on the 
screen went far beyond anybody’s imagination who was 
actually reading the script.” 


* ventually, of course, the Film Commission grasped 
✓the excessive nature of DEAD ALIVE, but, Jackson 


3 i 


PSYCHOTRONIC • 




Diana Penalver as Paquita — BRAINDEAD 


reports, they offered no interference during the shoot at 
Avalon/NFU Studios, primarily a television facility in 
Wellington. “Once they approve the script and give you 
the money, they leave you alone. They keep track of 
whether you’re going over budget or if you’re behind 
schedule, but if there are no problems — and we didn’t 
have any — then they stay away. 1 think they visited 
the set once during the making of the film, when we 
were doing a stunt they wanted to see. They came 
along, had a look, stayed an hour, and left. They 
basically didn’t see the film again until it was finished. 
They imposed no control over me in terms of the edit. 1 
had final cut. They could suggest things if they wanted 
to, but, in the case of this film, they didn’t. 1 can’t recall 
them really having any problems at all. They’d sit there 
and 1 guess they’d wonder what on earth they’d done 
and was this a big mistake they’d made, but they didn’t 
lay it heavily onto me. They saw the film when I got an 
assembly together. It was pretty much a final cut and we 
screened it for them. 1 think they were a little bit taken 
aback by the amount of gore. At that stage, we hadn’t 
got the music in place, so 1 kept assuring them that, 
when the music was there, it would seem a whole lot 
more fun. So they went away again and we ultimately 
got the music on and they saw it again when it was 
finished. It was too late then to do anything about it.” 

B ecause of the blood, gore and other special effects, 
DEAD ALIVE was, in Walsh’s term, “sticky” to 
shoot once the basic drama scenes were finished. “The 
last six or eight weeks,” Jackson recalls, “we were all just 
trapped in this claustrophobic set covered with dyed red 
pancake syrup that we used for blood. I think we used 
3,000 gallons by the time the film was finished. At first, 
we’d shoot a scene, then we’d clean up. We’d mop the 
floor so it was all nice and clean again. But, eventually, 


we gave up, and it just became a very unpleasant 
environment to work in. The floor of the set, which 
consisted of these hallway tiles, got so sticky with built- 
up layers of syrup that you’d be standing around talking 
about where to put the lights or what shot you wanted 
and when you’d start to move away, your feet would be 
glued to the floor. You’d have to rip the soles off your 
shoes to get them off the floor. The movie lights heated 
all the syrup up, because it was everywhere, it was all 
over, just dripping down the walls, everywhere... The 
continuity lady almost had a breakdown. 1 kept telling 
her not to worry. People are not going to notice 
continuity when you’ve got so much blood around... All 
day long, you were working in this hot, thick 
atmosphere, with this sticky stuff that got into your 
lungs. You’d go home at the end of the day and it had 
got everywhere. You’d wash your clothes and have a 
shower and you could still smell it. At the end of the 
next day, you’d be scratching in your ear and you’d find 
a bit of that sticky stuff that was in your ear that you 
didn’t get out when you had a shower the night before.” 

iinnhe actors had it worse than anybody. At least, 1 
JL was in reasonably comfortable clothes. They had 
to spend their days in sticky clothes. Tim Balme, who 
played Lionel, got drenched in blood during the 
lawnmowcr scene. It was shot with several cameras, but 
it still took us three or four days to shoot the whole 
sequence. In addition to Tim wielding this fake 
lawnmower that was rigged with hlood tubes so the 
blood would gush in all directions whenever he rammed 
it against a zombie, we also had people off screen who 
were throwing blood back in his face. We shot one take 
that lasted about 90 seconds where we just kept 
throwing blood at him. In the end, he was just 
screaming because it had gotten into his eyes and was 
stinging them. He stood it for as long as he could, but, 
finally, he was just holding the mower and screaming for 
us to stop. We actually used that shot in the movie. It 
was a nice sort of moment.” 

UPv ue to the terrifying nature of this film,” read an 
JLy invitation to the DEAD ALIVE press screening, 
“no one will be allowed into the theatre,” and while 
that caveat was meant to be humorous, still Jackson’s 
picture arrived in U.S. theatres without an MPAA 
sanction, in contrast to the way the film was received 
back home. “In New Zealand,” explains Jackson, “we’ve 
got an R-16 rating, which means it’s restricted to people 
16 years and over. But ratings in New Zealand don’t 
have any stigma attached to them. Trimark chose to 
release it unrated here rather than release it as an NC- 
17, simply because they think that an NC-17 has a lot 
of stigma attached, which they preferred not to have. 1 
just think it sounds like a crazy system. 1 watched that 
guy, Jack Valenti, on television a couple of days ago. 
He’s got such a cheek to sit there saying: ‘We’re not 
censorship, we don’t censor films.* They’re like some 
terribly creepy organization, the mind police, and the 
fact that they deny they are makes them all the more 
creepy, as far as 1 can see.” 


PSYCHOTRONIC • 32 




BRAINDEAD — Timothy Balme as Lionel 

J ackson thinks of DEAD ALIVE as a movie in the 
comic tradition. “I had no intention of making a 
violent movie and I argue that DEAD ALIVE is not 
violent. I say that quite seriously. I’m not being flippant. 
To me, the word ‘violent’ has negative connotations. 
When people use it, they’re always using it in a negative 
way. It means pain, suffering, unpleasantness, people in 
torment. It’s a nasty word that is used to describe nasty 
situations. 1 don’t think that applies to the film I’ve 
made at all. I’ve made a comedy. Sure, it goes over the 
top. 1 call it ‘splat-stick.’ Someone wrote that DEAD 
ALIVE was a Buster Keaton movie with gore. That was 
the best description I’ve seen... Creating an uneasy 
atmosphere or making people frightened doesn’t interest 
me that much. What 1 enjoy doing is making people 
laugh. The way that I’m doing it with this film is by 
putting so much blood on the screen that people just 
think it’s stupid, and then I go beyond that. With the 
amount of gore in DEAD ALIVE, people have to have 
some reaction and so they laugh. There’s nothing else 
they can do. They can’t scream. Often people scream in 
films, but it’s just not the right sort of thing to do in 
DEAD ALIVE. You don’t scream. It hasn’t been set up 
that way. It’s clear from the early stages this is not real 
life. Lionel and Paquita’s romance, with the cheesy 
music, is just too sweet. They’re too innocent to be real- 
life characters. It’s a comic-book movie, really. 1 can’t 
imagine anyone watching DEAD ALIVE, getting the 
family lawnmower, and doing a copycat lawn mowing 
massacre. 

4( r T" , his film exists because I’m such a big fan of the 
I EVIL DEAD films and RE-ANIMATOR and 


DAWN OF THE DEAD. 1 definitely wanted to make 
my own zombie movie, but I didn’t want to do a rip-off 
of any one of those films. They’re exactly the same 
genre, the zombie splatter gore type story, but they each 
have their own identity in my mind. 1 always think of 
DAWN OF THE DEAD as being the shopping mall 
zombie movie. 1 always think of EVIL DEAD as the 
cabin in the woods. RE- ANIMATOR is the hospital 
and the syringes and that medical feel. 1 think setting 
DEAD ALIVE in the 1950s has given it a really nice 
flavor of its own. It’s the story of this boy and his 
mother turning into a zombie in this weird little 50s 
town. 1 think it has its own identity.” Jackson admits, 
however, that back home, there are those who feel New 
Zealanders should make films which present a favorable 
image of their country. “1 just think that’s crazy. Are 
people going to see DEAD ALIVE and think that New 
Zealand is full of zombies. 7 ” 

C urrently, Jackson is mulling over some American 
movie offers but doesn’t seem eager to settle down 
in Hollywood. “I’ve been to quite a few meetings in Los 
Angeles with people who are genuinely stupid. They’ve 
got this job, but they haven’t a creative brain in their 
head. Dealing with that sort of people on a regular basis 
would drive me crazy. It’s hard enough being in a 
meeting with them for an hour... I guess what I’d really 
like to do is have a good American distribution deal for 
a film that I could make on a decent budget in New 
Zealand and have total control on. I have no rules. I’m 
happy to stay in New Zealand and, one day, I’ll come 
over to Hollywood and make a film, but it will be the 
right movie that 1 really want to do.” As for Walsh, 
she’s found a logical outlet for all that theatricality in 
DEAD ALIVE’s original screenplay. “Stephen Sinclair 
and 1 went away and wrote a stage version, which we’ve 
just finished. A splatter musical.” 


PSYCHOTRONIC • 


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The Naked 
World of 
George Harrison 
Marks 


Interview by 

Bal Croce and Marc Isted 

CPeorge Harrison Marks was the leading 
photographer and publisher of "glamour 
photography" in England in the 50s. He was sort 
of the Irving Klaw of Great Britain. He still lives 
and works out of the same Stanford Hill, North 
London flat where he was born in 1926. "I left 
school at 13, the war was on, kids were being 
evacuated, but I stayed in London. My mother 
said, 'Go find a job.' Wherever you went there 
was work, most men were in the Army. Friends 
of the family knew people at Ealing Studios and 
bang, I was banged on with a very famous 
cameraman, one of the greatest of the 30s, Percy 
Mumford (THINGS TO COME...), by this time 
he was 71-73. 1 had experience crammed into me 
photography and lighting wise that would 


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normally take 25 years to learn. He couldn't see the 
apertures, he didn't want anyone to know." It was 
a while before Marks put this knowledge to use, 
though. 

JS/Ly family were theatre people. I've got 
people in my family on the stage going back to the 
1800s. My father was an entrepreneur, in fact he 
used to put on Variety bills, so I grew up in music 
halls. The local was the Hackney Empire." Marks 
became half of a music hall comedy team with 
Stuart Samuels that lasted for eight years. "By the 
early 50s, I started doing a bit of photography 
again. Variety was dying, I saw it coming. I knew 
something else, so I thought I'd give it a shot. I was 
living just off Tottenham Court Road and Charing 
Cross Road. In those days most of the theatrical 
and variety agents were there and I knew a lot of 
them, so I'd give them my card, tell them I had a 
studio and I did theatre work. I had taken some 
stuff of (comedian) Norman Wisdom. He was 
stooging for David Niven." These publicity photos 
later led to a job at "The Folies Bergere" at the 
Prince Of Wales Theatre and Marks soon began 
doing nude shots. "I was doing something people 
hadn't seen before, everything (then) was health 


PSYCHOTRONIC • 36 





Pamela Green (right) 

and efficiency. I was used to photographing 
comedians and getting life out of them and that's 
what I did with the girls. I was called everything 
under the sun, things like bloody Svengali, the 
Devil!, everything! It made my name. Publishers 
wanted my work. 

"n 

l^/ne day a German publisher came to me and 
bought 100 pictures to go into a book in Germany, 
and on his way out, said, 'Can we use your name 
on the cover? I'll give you 100 pounds extra'. I 
thought that if he was willing to pay for my name, 
it must be worth more than that. So I put a pocket 
magazine together (starting in 57). "Kamera" was 
without a doubt, the best selling magazine of its 
type in England. It was big business. I had 31 
people on the staff. It was a tremendous amount of 
work. There wasn't a single day I didn't shoot from 
the middle 50s to the middle 60s. "The 5" x 7" 
Kamera, "portraying the magnificence of perfect 
womanhood" was printed in Holland. Issues 
featured (usually full page) posed studio shots 
(some in color) of great looking naked models. 


Each photo included exposure, lighting 
and stop info. The models pubic area 
was always airbrushed, leaving a 
smooth mystery region (this was 
common in all men's magazines until the 
70s). Ads offered sets of wallet sized 
glossy photos. Some issues also have 
smaller candid shots of Marks (usually 
with drink in hand) with his trademark 
goatee and mustache and his models 
partying with various (minor) 
celebrities. Other magazines followed 
from Kamera Publications. "Girls" was 
one and "Solo" featured one model per 
issue. The top model in Mark's 
magazines was the gorgeous Pamela 
Green, who had posed nude for Vogue 
in 54. She had also been a showgirl at the 
Follies. She posed with different hair 
styles, hair colors and looks. In some 
shots, she even had different skin colors. 
Sometimes she worked as Rita Landre. 
Marks (who was married three times), 
spent eight years with Green. She later 
claimed that she was basically the 
beauty and the brains behind the 
lucrative business. 

A^farks first shot glamour films the 
next year and eventually turned out 
"over 500." The films (with titles like 
"The Window Dresser," "Xcitement," "Gypsy 
Fire," "Witches Brew"), (were shot with 16mm but 
were sold as 8mm, three minute shorts) to men, 
from camera shops and newsstands. He exported 
his short films to Europe and America and 
imported shorts by Irving Klaw and Bunny Yeager 
and, later features from David F. Friedman. Marks 



Pamela Green, Marks and actress Vanda Hudson 


PSYCHOTRONIC • 37 




was a consultant 
for Michael Powell's 
PEEPING TOM (filmed in 
59). His actual studio, 
assistants, photos and wife 
were used. The disturbing 
classic features Carl 
Boehm as Mark, a young 
man making films just like 
Marks did. The newsstand 
in the movie (with Mark's 
friend Miles Malleson as 
the shop owner) is just like 
one that would have been 
selling Mark's films at the 
time. Pamela Green later 
remembered - "In one 
scene with Carl Boehm, I 
was totally nude, 
beautifully lit by (Czech cinematographer) 

Otto Heller. The re-cut version left just a 
glimpse of me at the far end of the bed. The 
first version was shown at the premiere and 
after that it was seen overseas, although it has been 
known to surface in cinemas around London. The 
second one is shown on television." PEEPING 
TOM was first released cut (in 62) by Astor in 
America and a very cut version played late night 
TV where it gained a cult following. It was later 
restored and re-released in 78 by Martin Scorsese. 


them lined up for over a year in England. 
Producers Michael Kilinger and Tony Tenser later 
used the profits to back Roman Polanski's 
REPULSION and CUL-DE-SAC(I) "That was a 
glamorized travelogue all shot through Devon and 
Cornwall. 1 went on a personal appearance tour 
with that first film. It was the first nationally 
released film in Britain that ever showed a nude. 
The censor at that time was a great character called 
John Truewylan. No mug, but a great character. I 
told him I had some of the leading figures in the 
nudist movement in the country (I didn't have 
anybody!). 1 found the first nudist colony outside 
Walford. The founder of British nudism was an old 
boy there, called John McCusky, he was about 84- 
85. I thought, if I could get him, I'd be home, so I 
went and saw him. He had a long white beard, 
broad Scottish accent, but he knew and loved my 

work. So, I got permission 
to shoot at his camp, went 
back to the censor and they 
allowed me to go ahead 
with the filming. The press 
we got on the pre- 
publicity, you wouldn't 
believe!" Stuart Samuels 
plays all the male 
characters. In later 
features, Marks himself 
played all the male 
characters. It was released 
by Crown International in 
America. Green left him 


Models in 
KAMERA 
magazine 


N, 


AKED AS NATURE INTENDED (PV #9) was 
the first of Marks' five features. The color hit had 


PSYCHOTRONIC • 38 





after NAKED... hit and went with Douglas Webb, a 
war hero who was the stills photographer for 
NAKED... They're still together today, living on 
the Isle Of Wight. Green returned for Marks' next 
feature and also appeared briefly (with her clothes 
on) in both THE DAY THE EARTH CAUGHT 
FIRE (62) and LEGEND OF THE WEREWOLF (75). 

Chimney SWEEPS was a rare, 
non-sex feature. "The next was THE 
(NAKED) WORLD OF HARRISON 
MARKS, a fantasy, a big 
production, big sets. I filmed that in 
our own Holborn studios." Marks is 
seen at work photographing 
"twenty beautiful girls" (including 
Christine Williams from Playboy) 
and in comic dream sequences. 

Marks, reverting to his vaudeville 
days, appears as Dracula, James 
Bond, A1 Capone and four other 
characters. It was "in Glorious 
Colour" and was narrated by actor 
Valentine Dyall (ROOM TO LET). 

Top-billed Green only made a 
cameo appearance and June Palmer, 
another popular Kamera model, 
was featured. It was released by 
Manson Dist. in America. 


"7 

1 made a few for America. My agent in America 
set it up. I was halfway through the first one 
(PATTERN OF EVIL or FORNICON) and I found 
out who I was working for... the "Mob." It was 
very low budget. I went into production and about 
4 or 5 days into shooting, my American agent said, 
'I'm coming over with the money 
boys'. Halfway through filming, 
they walked in. The bloke had a 
loud blue checked suit on, he looked 
like a comic from the old school. I 
took my agent aside and in all 
innocence, I asked him, 'Is he in 
showbiz? He looks like a comic." He 
said, 'Yeah, he's really funny, he's 
got a gun in his pocket and he"s 
with the mob!' PATTERN OF EVIL 


Kamera OH LOCATION 

Send s.a.e. for Free brochure 
of this wonderful book b> 

HARRISON MARKS 


was never shown in England. It was 
about a bisexual London cosmetics 
company owner, a secret formula 
and a murder. Scotland Yard 
investigates and suspects are put on 
a torture rack at a costume party. 
Monique Devereau was one of the 
stars. It was from Marvin Films, the 
same company that released Andy 
Warhol's HEAT. 


PSYCHOTRONIC • 39 


N, 


INE AGES OF NAKEDNESS 
(PV #7), was another comic nudie, 
but this time with sex scenes, 
instead of just naked ladies. Marks 
stars as himself, talking to a 
psychiatrist and relating tales of 
his ancestors. He plays all the male 
characters again in the historical 
sequences. It ends with a topless 
women in space segment. Actor 
Charles Gray (ROCKY HORROR 
PICTURE SHOW) narrated. With 
June Palmer and Pat Schaefer/ 
Patricia Rose. This was followed, in 
71, by Marks' 2nd "porno" trial for 
sending obscene materials through 
the mail, then (according to David 
McGillivray) by five years of heavy 
drinking. 



Hi, 


.is return to feature making was 
COME PLAY WITH ME, backed by the publisher 
of the "Playbirds" and "Whitehouse," British men's 
magazines. The comedy about forgers was a big hit 
in England and ran for years. Marks starred with 
Alfie Bass (THE FEARLESS VAMPIRE KILLERS). 
The naked female cast included Sue Longhurst, 
Nicola Austine and Ingmar Bergman's daughter 
Anna. Mary Millington (who starred in several 
features before killing herself in 79) was in it and 
so was Suzy Mandel (a regular on BENNY HILL, 
who was also in PRIVATE EYES with Don Knotts 
and BLONDE AMBITION, a porno feature!) "It 
was just a film that made a fortune! After that, I 
decided to retire. I'd made a lot of money, so I 
decided to retire." 


NINE AGES OF NAKEDNESS 


and makes spanking videos. "Some 
people who had the leading 
magazine of its type had it put 
together by a guy who had been 
doing it for 25 years and he died. I 
was doing a little business with 
them and they said, 'Can you help 
us out, we are three weeks late with 
an issue.' I thought it was a bit of a 
joke. Spanking?! Well, I'll tell you, 
it's one of the biggest businesses 
I've been involved with. The people 
who buy this stuff, it's very mild, 
not hard core by any means, are 
doctors, solicitors, barristers, etc." 
In 91, Marks produced a variety 
show at London's Shaw theatre. In 
92 he turned up on American TV. 
He was interviewed on the Geraldo 
Rivera show (!) about former actress 
Pat Schaefer (from NINE AGES...), 
who was involved in a multi-million dollar alimony 
case (and with Governor Wilder of Virginia!) In 
England, men of a certain age group probably long 
for the days when Marks and his magazine, photos 
and 8mm films were the hottest items around. "I've 
no wish for fame or glory anymore. I've had it, done 
it. I don't want to knock my guts out anymore." 


o. 


"ver the years, Marks became rich and went 
bankrupt. He had been prosecuted for porn, when 
he was just making old fashioned nudies. Later 
on, he really did make (anonymous) porno 
movies, books and calendars, backed by German 
and Danish money. One 8mm title (part of the 
"Mystra" series) was BLOOD LUST, a hardcore 
vampire movie. In the 80s, Marks began specializing 
in spanking products. He edits "Kane" magazine 



m 

> •• 


Naked 
World of 
Harrison 

Marks 


/A/ CLOMOUS COLOUR 


Thanks to Cynthia Rose, David McGillivray (for his 
book "Doing Rude Things") and Will Stevenson, head 
of The British Film Institute. 


HARRISON MARKS FILMOGRAPHY 

59 PEEPING TOM (59) consultant 
61 (NAKED) AS NATURE INTENDED 
(Something Weird) P/D 
63 CHIMNEY SWEEPS* P/S/act 
65 THE (NAKED) WORLD OF HARRISON 
MARKS - P/D/S/act 


67 (FORNICONJ-PATTERN OF EVIL - P/D 

68 OTTO UND DIE NACKTE WELLE (W. 
Germany, acts) 

69 NINE AGES OF NAKEDNESS (Media) 
P/D/S/act 

77 COME PLAY WITH ME -D/act 


PSYCHOTRONIC • 40 


T 




i 


BLOOD TIMES VIDEO 


KUrp&fan llorrar 

CAT O’ NINE TAILS (70) ( Argent., Huncul) 
AWFUL DH. ORLOtF (62) (Franco) 

(Frrnrh language with English vubtitlrs) 
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(F'ranco)(Frrnrh languagc/Fnglivh subtitles) 
HORRORS OF SPIDER ISLAND (5V) 

Krfrnun language) 

IIOWL OF THE DEVIL (X) (90) (Paul Naschy) 
(Spanish language/EnglUh subtitles) 
SADOMANIA (X) (80s) (Kntnco)(Frenrh language) 
ZOMBIE III (87) (taiciu Lute, in English) 

J ungle Girl Adventures 

EVE (THE JUNGLE WOMAN) (68) 

LIANE, THE JUNGLE GODDESS (5(h) 

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-M ok a n F fj»lucr> ijn Sj^illlh-I AnfiSMBj 
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SANTO VS THE Kll LER BI.OB (70s) 
WRESTLING WOMEN VS THE KILLER 
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GODZII LA AS KING GIIIDORAII 
(waiih English subtitles) 

INVASION OF THE ASTRO MONSTER 
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LADVBA1TLECOP 
MASKED RIDER HISTORY Vul. I • III 
(Incredible Action, 3 vol. >c«.S 1 8 each) 

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A 008: OPERATION EXTERMINATE (6(h) 
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signature) that you arc at Irast 21 years old. 

Call The BTV Hotline at (718) 204 . 6194 


ALL TITLES IN THIS AD ARE AVAILABLE FOR 
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(plus $3 pAh for the Tint title, $1 each additional 
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J EAN RQLLIN Rarities 

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• 4 I 


PSYCHOTRONIC 












EXTRA! 

BURIED ALIVE WITH 
DONN DAVISON! 


Patrick Slusher (of Olympia, Washington) read our 
"Spook Show Racket" features last issue and responded 
with a letter and a whole pack of illustrations and 
publicity about the mutli-talented rip-off artist Donn 
Davison. Davison, based in Brunswick, Georgia but from 
Kentucky is really Phil Chandler and he was a.k.a. Alan 
Milan, Don K. and D. E. Davison. 1 was amazed to 
discover that Davison was the brains behind the early 60s 
buried alive show in Cleveland that Ghoulardi hosted. 1 
was too young to go, but 1 was fascinated by the concept 
of paying to see a burial. Here is Slusher's letter (with 
additions of my own). 



Without a doubt, Donn Davison was one of the all 
time great hustlers down south and really one of the last 
of the "tall grass showmen." Donn has always been first 
and foremost, a professional magician. To this day he still 
tours with a full evening illusion show, promoted through 
telephone solicitation. Naturally the show features not one 
or two, but eight sexy, scantily clad broads. Family 
entertainment Southern style! He also offered other 
magicians, an escape artist, a balloonist, ventriloquists 
and clowns for "Fairs, carnivals, trade shows and 
shopping centers." 


Early in his career. Donn created two successful 
spook shows, "MONSTERS A GO GO" and "THE 
HORROR CHAMBER OF BLOOD AND GORE." The 60 
minute GO GO show was staged after a horror movie and 
a rock 'n 'roll movie and was followed by another horror 



to "twist, frug, watusi...' 
away were goldfish, 
candies in an envelope 


movie and another rock movie. 
The later show was often 
presented on the roof of a drive- 
in snack bar. Some of the 
additional attractions were 
"THE BEATLES! Magically 
Transformed," "The Ethereal 
Materialization of Liz Taylor as 
Cleopatra," Teenage 

Frankenstein on stage and 
"Bobbi Dukes, Hollywood 
Starlet" or "Go-Go Dancer Pat 
Collins." "Dukes" or "Collins," 
sometimes billed as a star of the 
Beach Party movies, were any 
local girls that were available 
in a bikini. The "live babies" given 
Free "Blood Pills" were red hot 


Later, he dropped the spook show format in favor of 
the "MAN BURIED ALIVE!" show. A funeral canopy was 
erected on the drive-in grounds and a grave dug. A man 
would be "hypnotized" and buried in a coffin on Friday 
night and remain there until closing on Sunday night. 
Patrons were allowed to file by and peer into the grave via 
a "viewing tube." Patrons were also encouraged to return 
each night to make sure the man was still alive in the 
grave. Girls were given free "My Sin" perfume if they 
could look into the grave without fainting. Eventually, 
Donn realized that this promotion would be 100% more 
effective if he buried a beautiful girl in a bikini. Of course, 
this was an immediate hit, and sometimes the drive-ins 
would be kept open all night so that kids could return and 
pay 2b<t for the privilege of seeing the buried girl in the 
wee hours. The show became "SATAN'S BLOOD BURIAL - 
See The Daughter Of Satan Buried Alive!" At some shows, 
the feature attraction was Larry Buchanan's THE NAKED 
WITCH, followed by HORROR OF DRACULA and THE 
CURSE OF FRANKENSTEIN. When the Buried Alive show 
played at Cleveland's Cloverleaf Drive-In, the "event" was 
hosted by legendary TV horror movie host Ghoulardi. The 
appropriate PREMATURE BURIAL (which was new at the 
time) plus THE UNDEAD, THE HAUNTED STRANGLER and 
FIEND WITHOUT A FACE (which were not) were all on the 
bill. The burial show made the local daily papers. One 
article said, "the stunt is so old, it's new again." 


Next, Donn played the drive-in circuit with a 
burlesque show of all things. Again, this "Midnight 
Scandals" show was presented on the roof of the drive-in 
snack bar between movies like NOT TONIGHT HENRY 
and other outdated softcore fare. The show consisted of 
two or three girls, Donn doing naughty magic and adult 
humor and sometimes, another comic. These shows 
always carried backdrops, PA, special effects, etc. The 
shows may not have been all time greats, but imagine a 
production like that on the roof of a small town ozoner in 
the mid 60s. Of course, an adult novelty package was 
"pitched" at the conclusion of the show. 

Donn promoted family films as well in the 70s. This 
was always done in conjunction with a special live show 
promotion at the theatre. A deal was made with the local 
school district, and all the kids would be bussed in (at their 
own expense). The students then paid $1.50 each to see 
Donn present his live act plus a "clean, wholesome" 
movie. DUNCAN'S WORLD ("A modern day Tom Sawyer 
and his friends") was an obscure, low budget feature 
produced by a woman named Helen Masson Copeland 
that was used for this promotion. Later on, K. Gordon 
Murray kiddie films were used instead. Donn actually 
wrote a booklet on how to promote a show in a grade 


PSYCHOTRONIC • 42 


T 




C2 K>pX PASS TO ANYONE j 

Sitting THRU Entire Show/} 




BOOZE, BANKS & BROADS! 

They Had Their Hands in Everything!!! 




OH 

m plRSOH 



FKOM ' " * \ 

west 

VUKES l 

HOLLVw/ 0< 3£j J 

starlet • 
We does the : 

Wt$r/\ 


ISuiraanee Cmsilly 

.7 


Tl^e *K i((" 

(DON’T CONFUSE THEM WITH THOSE OTHER GUYS!) 

SUNDANCE CASSIDY & BUTCH THE KID. STARRING JOHN WADE 
KAREN BLAKE, and ROBERT NEUMAN DIRECTED BY ARTHUR 

An Edward L Montoro Presentation of a Film Ventures Int Release • Color 

THEATER 



, HEY, MAN! DIG THIS CRAZY 
SHOWtREALGONE IHRIUER! 


I 

PSYCHOTRONIC • 43 



school for the kids. This included window cards in the 
classrooms, one sheets in the hallways, radio spots for the 
principal to play each morning over the school PA (!), and 
a continuous trailer playing in what appeared to be a 
video cabinet stationed in the lunch room. Once Davison 
promoted a stage show called Holiday In Magicland as 
"In the tradition of Walt Disney." 

Donn promoted many films in the southern drive-in 
circuits. He produced, directed and starred in 
MOONSHINERS WOMAN (68). Some others were THE 
WIDOW IS WILLING, OBSCENITY, THE PRICE OF SIN (K. 
Gordon Murray birth of baby movie), THE FLESH IS 
WEAK and FIEND FOR FLESH. He took David F. 
Friedman's SHE FREAK (66), added some 3-D scenes and 
called it ASYLUM OF THE INSANE. SHE FREAK was a 
loose remake of FREAKS. Friedman thinks Davison may 
have added a 10 minute 3D reel from Peter Walker's 
British movie FLESH AND BLOOD SHOW. Friedman 
could have easily sued Davison, but now says ”1 was kind 
of laughing about the whole thing (at the time). I was more 
mellow in those days. ASYLUM OF THE INSANE was in 


retitle. WHOREHOUSE could be any adult, R rated 
country theme sex movie that Davison had a print of. 
Often, local small town newspapers would censor the title 
and list it simply as LITTLE HOUSE ON THE PRAIRIE(?). 
Nobody could sue him because the papers made the 
change. 

Finally, Donn did a great deal of work with Film 
Ventures International, creating campaigns, titles, and 
generally hustling their films to buyers. Film Ventures was 
(and is) an Atlanta based company founded by the late Ed 
Montero. Davison took an unknown spaghetti western and 
turned it into SUNDANCE CASSIDY AND BUTCH THE 
KID. It's even played on TV under that that title. He also 
worked on DAY OF THE ANIMALS a.k.a. SOMETHING IS 
OUT THERE (77) and THE FORCE BEYOND (78). His 
crowning achievement was the hit Italian EXORCIST 
copy, BEYOND THE DOOR (75). The TV ad campaign was 
far better than the damned movie and we have Donn to 
thank for that. ANIMAL HIGH (79), "Where Nobody wears 
a toga!" was an ANIMAL HOUSE rip-off. He also wrote a 
book based on BEYOND AND BACK. 




MORE 

JIGGLES 

than you’ll 
see on T.V. / 


FUN LOVIN’ GALS 
WHO 

GAVE HARDWORKIN’ 
GOOD OLE BOYS 
APLACEtoCOME 
atTHEENDof the DAY! 


» 

►* / 


These days, Donn Davison is still at it, promoting 
some gimmick or seminar using telemarketing, but the 
glory days of Southern nights at the drive-in are long 
gone. He takes out ads in publications (like The "Linking 
Ring") offering mail order books like "Conjuring For 
Cash." His publicity claims he's the author of "22" books 
and the ''producer/director of films grossing in the 
MILLIONS." If you buy one of Davison's (spiral bound) 
books, you could even learn how to set up your own 
profitable buried alive stunt, complete with "secret trap for 


ti^'AMBULANCEOH 
CALL FOfiTMOSf WHO MINT! 
FR£E BURIAL TO ANYONE 
WHO DIES OF FRIGHT ! 


BLOOD PIUS 
| TO HUP YOU STAND SHOCK 
•PASS TO ANY GIRL THAT 
I LOOKS IN THE CRAVE 
I AND DOES NOT FAINT ! 


the tradition of Dwayne Esper retitling FREAKS 
NATURE'S MISTAKES or FORBIDDEN LOVE." 


Davison played one movie he actually made 
(SHANTYTOWN HONEYMOON) under many different 
titles. It was later reworked and retitled by another 
director (who acquired it legally). Fred Olen Ray wrote 
"Donn Davison's SHANTYTOWN HONEYMOON movie 
was the picture I bought and retitled DEATH FARM 
MASSACRE (with added scenes of John Carradine). It 
looked like it had been shot in three or four days." 


WOW fr WOW AGAIN! ! 

THE BEATLES! 

j JJ'MYSTICAILY TRANSFORMED" 


•A LEGEND OF BLOOD AND TERROR 
COME ALIVE TO HAUNT YOU FOREVER ! 
• SATAN'S DAUGHTER BURIED 
AND RETURN ALIVE !!! 


• NEVER IN YOUR WILDEST NIGHTMARES 

HAVE YOU EVER IMAGINED SUCH A 
UNEARTHLY HAPPENINGS !!! ^ 

• THE BLOOD RACE 0FSA7ANS DAUGHTER! 


• AN ADULT PICTURE THAT WILL 
MAKE YOU GASP- SHRIEK SHUDDER! 

• THE FIRES OF HELL POSSESSED HER ! 


The little whorehouse on the prairie ( 80 > is 


in and out." 


the greatest example of his outrageous promotions, with 
tag lines like "More Jiggles Than You'll Ever See On TV." 
As explained last issue there was no single movie to 


Davison himself is interviewed on Jim Ridenour's 
SPOOKS- A POPP1N' tape (see review). 


4 4 


PSYCHOTRONIC • 




jet away 
ax dies... 


After Neil and Max bungle a jewelry heist. Max 
decides their only chance It for him to swallow 
the one Jewel they need and ditch the rest of the 
diamonds. But no sooner than he swallows the 
jewel he has a shoot out with a cop, resulting In a 
dead cop and a severely Injured Max. 

Nel quickly steals a car and tiles to \ 
with his Injured friend. But, en route, h 
leaving Nell to fend for himself. 

Parked In cemetery Nell 1$ approached by 
Carrie (a necrophiliac, who is seen earlier in the 
movie masturbating to real death videos) who 
offers her help In getting rid of Max. Having no 
where to turn, Nell accepts. 

As Nell tries to set up the sale of the stolen 
Jewel, still lodged In his Max's somach, he 
becomes totally disgusted by Carrie who spends 
all her time wtth his dead friend. After having sex 
with Max's corpse In the bath tub, she shaves his 
head Into a mohawk and them pierces his nipple 
while liavlng sex with him In bed. 

Nell has more confrontations wtth the law but 
sets up the sale of the Jewel, only to have more 
problems getting ft back when Carrie sells Max's 
body to Blake, a man dying from AIDS who buys 
corpses In order to still get a "human touch'. After 
Blake talks Carrie Into beating him with a whip as 
he crouches over his new human acquisition, Nell 
arrives for the final confrontation to gain the 

valuable corpse.. pun. COLOR VIDEO BOX 

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older titlea like theae that are being dropped. So if you eee something you 
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- 10^, 20 or more - 15jC f 30 or more - 20jt. Orders usually shipped within one 
or two days. Money orders preferred, checks may require time to clear. No COD 
or credit cord orders. Any titles sold out will be immediately refunded. 

UPS shipping: S4 firrt tape, 50 1 ea. additional tape. UPS 2nd Day Alrt S7 
first tape, SI ea. additional. Cape Copy Center, 631 Main St., Hyannls, Mass. 
02601. (508)775-6500 


The Candy Snatchers - One of the beat exploiters of the 70'e. Susan Sennet 
129. Sweet Sweetbacks Baadepsasa Song - Uncut, uncenaored, unapologetlc 129. 
Brain of Blood - A1 Adamson heavy gore. Wild *25. The Wicker Man - British 
erotic horror. 100 min. version *29. Poor White Treeh 2 (Scum of the Earth) 

- S.F. Brownrlgg swamp horror *29. SuBplrla - Unrated version *25, unrated 
vercion letterboxed *25. Mo. 45 - Abel Ferrara powerhouse *25. Microwave 
Massacre - Black comedy la so inept I suspect the involvement of Jerry Lewis 
*29. Another State of Mind - Punk documentary w/ Social Distortion *29. The 
Kirllan Witness - Telepathic plantai *29. The Desert Tlgere - Don't let the 
title fool you. It's a retltle for a 70's Natty Atrocity film like Ilaa *29. 
Ladles of the Lotus - White clavery ring in Hong long *25. Joshua - Fred 
Wllllamaon revenge western *19. Bora (Boaa Nigger) - Fred Williamson *25. 

Mr. Mean - Fred Williamson *25. Shocking Asia - 70'e aondo. Original issue 
*25. Shocking Asia 2 - More mondo thrills. Original issue *25. Mondo Mngle 

- Completes the set. Original lsoue *25. Drive-In Marsacre - The killer le 

•till loose! 1976 *25. Patrick - Australian horror. 1979 *25. Torture 

Chamber of Dr. Sadism - Vary atmospheric. 1967 *29. Dr. Jekyll'e Dungeon of 

Death - Loa Vegee baoed aex/action/horror . 1979 *25. The Reincarnate - 

Supernatural theme. 1971 *29. The Boogeyman - Ulll Lommel *19. Curse of 
the Blue Lights - Subterranean ghouls *25. Judgement Day - Evil In the town 
of Santanu *19. Big Bad John — Newlywed kidnapped *19* Zombie - Heavy gore. 
Tiso Farrow *25. The Mad Butcher - Black comedy w/ Victor Buono *25. Blood 
Bride - The groom hna a nun fixation- bride beware *25. Dark Power - Z horror 
w/ Lash LaRue! *29. la There Sex After Death? - Mondo/eatlre on early 70'a 
sexual mores. Buck Henry *29. The Black Hand - Post -Cod father exploiter, to 

entertaining ae Mafia Massacre *29. The Killa Have Eyes - 70'e claasio *25. 

Foxetyle - Black night club owner caves country cousin's farm. 1973 *29. The 

Heturn of Josey Walea - Michael Parka *29. Up Your Ladder - Incredible com- 
bination of Love American Style vlgnettee and Groove Tube type humor *25. 

Vengeance! - If you liked Victims! you'll like Vengeance! *25. The Cosilc - 

Obscure gore horror *25. Deodtioe 3toriee - The 'Little Red Riding Hood' epi- 
sode ia the best *25. The Golden Triangle - Drug cartels battle. Hong Kong 
action *25. The Jar - One of the strangest ever. Disturbing *29. Nail Cun 
Maaoacre - Z horror/b"d movie *25. Widow's Nest - Italian horror w/ Patricia 
Neal *25. The Haunting of Julia - Mia Farrow is crazy *29. Frankenstein's 
Csstle of Freaks - With Boris Lugosi! *25. Fiona - Britain's 70'a sex queen 
•25. Uncle Tom's Cabin - Kroger Eabb'o lost roadshow epic. Italian. 1968 *29. 

Sometimes Aint Martha Does Dreadful Things - Great early 70's weirdness *25. 


The Hollywood Strangler Meets the Skldrow Slasher - Stickler insanity *25. 
Dance Hall Racket - Hollywood Confidential original *29; relaeue *19. The 
Sinister Urge - Ed Wood expose of the smut racket *19. The Reflecting Skin 

- Beet of the 90'e so far. Unforgettable *?9. That Cold Day in the Park - 
Sandy Dennis la terrific ae a repressed spinster *29. You're a Big Boy Now 

- Biting blaok comedy. Bllzabeth Hartman. I960 *29. Blood Hunt - Girls kid- 

napped to jungle hideaway. Phllllpinaa c.1969. Retitled *19. Cycle Vixens 
(The Young Cycle Olrla) - Teen girl Easy Rider. 1977 *19. Girl's Riot - Like 

a German Bora Innocent *25. Gallery of Horror (Heturn From the Past) - One 
of the worst ever. Lon Chaney Jr. *19. House of Whipcord - Where the immoral 
are punished *19. Bad Girla Go to Hell - Doris Wlehman sexploitation *25. 
The Wixard of Gore - The ultimate in poat-hypnotlo suggestion! H.G. Lewis *2* 
The Orueeome Twosome - Where are those wigs coming from? H.G. Lewis *25. Sex 
and the College Girl - Early 60'a drive-in type *25. Juat Por the Hell Of II 
• Post JD. pre-punk youth mayhem. Jki orgy of destruction. Great! H.G. Lewie 
*29. Living Venus - 'Expose' of the skin mag business. H.G. Lewis *29. The 
Adventures of Lucky Pierre - Early Frledman/Lewle nudie *25. Blood Feast - 
The original gore/bad movie classic. H.G. Lewie *25. Suburban Rouletta - 
Wif# swapping 60's style. H.G. Lewie *25. She Devils on Wheels - All girl 
biker gang. Beware of Tiny! H.G. Lewie. 1968 *29. Deadly Weapons - Chesty 
Morgan. Doris Wish® on exploiter *29. 2000 Maniacs - "The South's gonna rlsa 
again". H.G. Lewis *29. Rabid Crannies - Euro gorefest *29. Bloodsuckers 
(*71) - Vampire cult and acid partita in Greece *29. Delirium - Italian 
Blanker with the immortal Turk Cekovsky *25. Sisters of Satan ( Alucarda) - 
Hysterical nuns. Dirt Juan Moctetuma *29. Kill Crasy - Danielle Brisebois 
topleea *25. The Brain That Wouldn't Die - With 'gore' scenes *19. The 
Crawling Hand - With a mind all itn own. 1963 *19. The Giant Gila Monster - 

Least scary ecraen monster ever *19. The Hideoun Sun Demon - Exposure to 
sunlight le disastrous *19. I Eat Your Skin (Zombies) - Voodoo shocks. 1964 
*19. The Slime People - Emerge from the newere of L.A. *25. Robot Moneter - 
Sony label. Beet available print. Not the blurry 3-D one *25. The Children - 
Radioactive killer klda *19. The Wild World of batwoman - Real cheap Batman 
rlpoff. 1966 *19. Night of the Choula - Ed Wood's eequal to Plan 9 *19. 

Orgy of the Dead - Stripper revue in a graveyard. In eexlcolor * 29 . The Vio- 

lent Yearn - 8 d Wood's girl gang epic *19. Eegah! - Cava giant falls for 
Arch Hall Jr.'e girl *19. Wild Guitar - Arch Hall Jr. in a alnglng eenaatlor 
directed by K.D. Stockier *19. Mondo filvia (Rock and Holl Disciples) - 
Unforgettable abort doc. on eome of the King's moat devoted 'fans' * 15 . The 
Bent of Soupy Salee - White Fang ft Black Tooth *19. Teenage Confidential - 
Great trailers for 50'n JD filmn * 19 . Rhlno'a Guide to Safa Sex - Education- 
al ahorta from the 40'a and 50 'a * 15 . Saturday Night Sleacies, Vol. 1 - Col- 

lege Girl Confidential ♦ Suburban Confidential, two A.C. Stephen eexploltere 
*35. Saturday Night Sleaxles, Vol. 3 - Motel Confidential ♦ Office Lova-In, 
two late 60' a A.C. Stephen eexploltere *35. Carnival Rock - Rockabilly- ♦ 
pathoa! *19. Strange Behevior - Psychological experiments go awry *29. Met 
Drug City - Mexican action. Retitled *9. Caged Women - WIP w/ Laura Gemser 
*25. Escape From Cell Block 3 - Early 70's WIP * 19 . Women of Hell's Island 

- Cirio Santiago WIP * 25 . Women in Fury - Superior Brasilian WIP * 25 , 

Emnnue lie : Queen of the Desert - Laura Gempar avenges her slotsr'a rape *29. 
The Wild, Wild, World of Jayne Mansfield - Mondo Jayne! *25. Rainbow Bridge 

- Psychedelic f/x ♦ Hendrix'e last Suer lean concert *19. Desperate Living - 
Visit the denizens of Mortvllle. John Waters *29. Private Parts - Great 
black comedy. Paul Partel *29. The Scavengers - Proet/Creaae sax western 
*25. Child Bride - Complete version w/ nudity. Archive print. Aq exploitatlor 
olaaalc *29. Santa Sangre - Alexandra Jodoroweky'a moat Pelllni-llke *25. 
Blood on Satan' a Claw - Superior erotic horror *29. The Devil's Female (Mag- 
dalena- Possessed by the Devil) - Hysterical German poet-Exorclat . Similar to 
The Sexorolat *35. Aaaton Jail - Qood WIP *29. Bmanuelle in tho Country - 
Laura Gemser *25. Driller Killer - Orlm Abel Ferrara * 25 . Hellhole Women 
(Sadomanla) - Jesa Franco *33. The Muthers - Jayne Kennedy *29. 


• 4 5 


PSYCHOTRONIC 




The Lickerish Quartet - Hadley Metzger 129. Mlrrore - Psychological horror. 
Kitty Winn 123. Klsa Daddy Goodbye - Fabian |27. Soft Touch - Jennifer 
Inch 127. Sinner's Blood - 70'a exploitation/biker 119. Cod'* Cun - Sybil 
Denning 115. Babe! - Runaway orphan. Canadian *29. Caligula's Perveroiono 
- Euro exploiter *29. The Bad Bunch - Creydon Clark Sexploitation *29. 

Mad Love - Early horror clasoic. Peter Lorre *20. The BeaBt with Five Fin- 
gers - Peter Lorre *20. Children of the Damned - Sequel to Village of the 
Damned *20. What'a the Vetter With Helen? - Shelley Winters *20. Hustler 
Squad - They lure the snsmy to bed *19. The Toolbox Murders - Reel naaty 
*25. Lae Vegas Hillbillys - Jayne Mansfield *19. Scream Bloody Murder - 
•Gorenogrsptay* *19. 8atan'a Cheerleaders - Creydon Clark *25. Last Orgy 
of the Third Belch - Maxi these sexploitation *29. Bloodsucking Freaks - 
Rude $29. Pin - Taut psychological horror *25 Corruption (Sweet Traeh) - 
Indescribable nolr/sleace/sexploltation. Early 70's $25. Rude (Bat Out More 

Often) - Rudy Bay Moore in ooncert! $25. Superfly - Classic blaxploltatlon 
$25. Women's Prison Escape - 2 min. longer than Thunder County version $25. 
Black Mama (Black Hooker) - 1972 oddltr $19. Eoanuelle'a Daughter (Emanu- 
allet Queen of Sadoa) - Laura Cesser $19. Bmanuelle in Africa - Karin Schu- 
bert $19. Bad Girls Dormitory - Sleary bad movie $19. The Innocent - 
Laura itotonelll $19. The Guy From Harlem - Obscure blaxploltatlon $25. 

Super Soul Brother (The $6,000 Nigger) - Wildman Steve $25. The World of 
Acid (The Hippie Bevolt) - Hippie mondo $29. Promises, Promises - Jayne 
Manofield *19. In Your Face ( Abar) - Outrageous blaxploltatlon $25. The 
ABC's of Love and Sex Axstralian Style - 'Educational' sexer $19. Disco 
Godfather - Rudy Ray Moore $29. Bito and Pieces - Great 70's style psycho 
$27. The Schoolgirls - Euro sexploitation $19. Eoabie Lake - Jean Rollln 
Bex/horror $19. Fierce - Jayne Kennedy $19. Mark of the Devil - With Gaby 
Fux and Herbert Fuchs $19. Turkish Delight - Monique Van der Van $15. The 
First Nudie Musical - Cindy Williams $15. Evil in the Swamp (All the Kind 
Strangers) - Samantha Eggar *15. Callgulai The Garden of Taboo (Caligula: 

The Emporer) - Joe D* Aaato softcore $29. Caligula: The Untold Story - Same 
as last but picture not as sharp $19. Schoolgirls: The Report - More 70's 
teen eexploits *19. Chaste and Pure - Laura Antonelll. Original issue $25. 
Reborn - Dennis Hopper *15. Under Hot Leather (The Jesus Trip) - Tippy Wal- 
ker $19. The Last Movie - Dennis Hopper $29. The Body - Carroll Baker 
*19. Bloodbath (The Sky is Falling) - Dennis Hopper and Carroll Baker *29. 
Fight For Your Life - Legendary exploitation. Uncut version $39. The Final 
Comedown (Blast) - Aigrv blaxploltatlon $19. Dolemlte - Budy Roy Moore $25. 
Sweet Trash (The Hangup) - Great early 70's exploitation $25. Schoolgirla 
...Growing Up - 'Sequel* is classlo 70' a young Eurotica *19. Norma - Early 
70's sexploitation *25. Mondo Cane 2 *9. Mondo Violence (Thla Violent 

World) *9. Africa Blood and Guts *9. Slave Trade in the World Today $9. 
Shocking Africa *9. Emanuelle Black and White - Similar to Mandinga $29. 
Captive Women (Naked Super Witches of the Rio Anore) - Jess Franco $19. The 
Velvet Vampire - Sex/horror $19. Captive Women XI (3S Experiment) - Nasty 
atrocities *19. Soul Vengeance (Welcome Home Brother Charles) - Jama Fanaka 
*25. Don't Go Near the Park - Early Llnnea Quigley. 70'a $29. The Black 
Kloneman - T.V. Mikela $29. Captive Women 3 (Sweet Sugar) - 7 min. longer 
than Sweet Sugar version $19. Savage Intruder (Hollywood Horror House) - 
John David Oarfield $39. Escape From Hell - Superior WIP $27. Hellflre on 
Ice - Seme as last but not an eharp $19. A Wild Ride (Bide a Wild Spur) - 
Sex western $29. The Female Bunch - Russ Tamblyn $15. Death Drug - Educa- 
tional poychodrama $15. Baby Cat - 80's sexploitation $15. Mona's Place - 
Sex western $29. Black Godfather - Excellent blaxploltatlon $29. Bummer - 
Dave Friedman drive-in fove $29. She Freak - Dave Friedman exploiter $25. 
The Devil's Son-In-Law (Petey Wbcatstraw) - Budy Hay Moors $29. Return of 
the Zombies (La Orgla de loa Muertoa) - Paul Neschy $25. Tha Night Porter - 
Nazi gamoa $19. My Pavorlte Butler (What the Sweedlsh Butler Saw) - Long 
version $19. Penitentiary - Jama Fanaka $19. Savage Inmates - Franco $19. 


Reflections - Kleeln couolns. Arnetts Haven £29. Seven Into Snowy - Abigail 
Clayton *29. Fantasy Girls - Early DeRenxy. 1974 *?5. Bubblegum - Tina 
Ross. Candy Cummings *25. Eat st the Blue Fox - Tijuana sex club. Pamela 
Mann, Kitten Natlvldad *29. Her Namo Woo Llea - Drugs were her downfoll. 
Samantha Pox, Vanessa Del Rio *29. The Pink Ladles - Samantha Fox *25. 
Pleasure Masters - A Twilight Zone twist from DeRenxy *?5. Skintight - Sex 
clinic *25. Starmaker - Copper Penny *25. My Pretty Co Between - Beverly 
Clen *25. Marriage and Other Four Letter Worde - "Rainbow Robblno is the 
ultimate California girl" - Only the Best. 1974 *29. Tha Secret Drenma of 

Mona Q. - Housewife's fantasias come true *19. Do You Wanna Be Loved? - 
Rene Bond, Aiita Sand (a busty rsdhead) *19. Randy- Ths Electric Lady - 
Deoiree Costeau. Written by Tarry Southern *35. A History of the Blue Movie 

- Alex DeReney'e olaseio documentary *29. Virginia - Shauns Grant (the ill 
feted Coleen Applegate) *25. Garage Glrla - Good action plue humor *29. 

Hot Racketa - Tennis anyone? Dselrse Costeau *29. Behind ths Scenes of an 
Adult Movie - Interviews plue sxcerpte *29. Naked Afternoon - Abigail Clay- 
ton *29. Susie Superstar - Shauna Grant *29. Scooter Trash - Narty bikers 
and their ehloka *29. Lady Lust - Bdy Williams $29. Loves of Lolita - 
Angel West *25. Nightdreams - Imaginative and artful classic *29. Little 
Girls Lost - Costing couch lives. Tlgr, Veronica Hart *29. The Opening of 
Misty Beethoven - Multiple award winner. Constance Money *25. Sextecn - 
Vignettes include hot teen *29. Vixens of Sung Fu - Rape victim learns mar- 
tial arte. 1975 $29. A Dirty Western - Quality sex western $25. Acer lean 

Pie - Lyen Thatcher. 50's motif $25. The Velvet Edge - Exploreo the offbeat 
$25. Titlllatlon - Kitten Natlvldad, Heaven St. John (Aigellque Fettljohn) 
$29. Thunderbuns - Great vignette type. Last episode is intense $25. The 
Pony Girlo - Set on a horse ranch $25. The Erotic Adventures of Candy - 
Carol Connors $25. Prisoner of Paradioe - Female war prisoners. Set during 
WW2. John Holmes, Seka $25. That's My Daughter - Karen Sweet $25. Aigela: 
The Fireworks Woman - Sara Nlcholaon $25. Candy Stripers - Hoepltal-lty 
I960 *19. The Resurrection of Eve - Early 70's classic. Marilyn Chambers 

$35. Little Me and Marla Strangelove - Nancy Hoffman $25. The Liberation 
of Honeydoll Jonea - Country lovin' $25. 3 Cheera For BJU - Call girl 

achool $25. The Milk Maid - Lactation $25. China DeSade - Offbeat $25. 
Teenage Fantasies - Rene Bond $25. Four Women in Trouble - All knocked up 
$25. Spirit of '76 - Historical costumer. Humorous *25. Sugar Britches - 
Vignettes. Jean Dalton $25. One Page of Love - Flashback to incest $25. 
Teenage Cruisers - Great drive-in type. Serena, Johnny Legend $25. Pastries 

- Uschi Dlgard $25. Whits Firs - Set at ski lodge $25. Lust Inferno - 
Predates the Bakksr and Swaggart scandals $33. Thoroughly Anoroue Any - 
Swinging 70's housewife. Tracy O'Neil $25. Summertime Blue - Samantha Fox, 
Serena fig. The Bride's Initiation - At Count Drscula's castle! $25. The 
Taking of Christina - Great exploitation type from the Defiance gang. Rape 
theme $29. Tomatoes - First X to achieve popularity. Complete 70 min. ver- 
sion. 1968 $25. Afternoon Tease - Call girls. Sandy Carey $25. Eehlnd the 
Green Door - Marilyn Chambers. 1972 $29. A Man With a Maid (The Naughty 
Victorians) - Classic BAD period piece $25. Lippe and McCain - Sex western 
$19. Little Orphan Sammy - Humorous. Jennifer Welles $19. Cafe Flesh - 
Cult classic $29. Babyfscs - Super Alex DeRenxy. Cuddles Malone. 105 min.! 
$25. Long Jeanne Silver - Moet unorthodox $25. Oh! Those Nurses - Lye a 
Thatcher $25. High School Memories - Annette Haven $25. Pretty Peaches - 
Desires Costeau' s beat $25. Taboo - Kay Parker $25. X-Rated Cartoons - 
Clever $25. Anyone But My Husband - C.J. Lalng $25. A Woman's Torment - 
Pcycho nympho $19. The Devil in Mlaa Jones - Original classic $25. Ths 
Devil in Mies Joneo 2 - Bizarre sequel $25. Honeypie - Jennifer Welles $25 
Naked Came the Stronger - Radley Ketxger $25. Treasure Box - Nancy Hoffman 
$19. Mating Season - Summer campout $19. Defiance - Great exploitation 
type with Jean Jennings $29. Christy - One of the beet of the early HYC's. 
Little Annie Christian. 1972 $29. Teenage Pantaalee II - Rene Bond $19. 


The Devil at Your Heels - Ken Carter wants to jump a car a mile! Classic doc. 
$29. The Beet of Sex and Violence - Essential trailer compilation $19. The 
Cutthroats - Early 70'a sexploitation set in prison camp $27. Scream Street 
(A Scream in the Streets) - Super Box Office lnt. aleace. Uncut 86 min. ver- 
sion $39. Loan-a-Lover - 70'a Euro sexploitation $19. Harley's Angels 
(Northville Cemetery Massacre) - 119. Daughter of Death (Julia Darling) - 
Incest theme. Isabel Mejias $19. Goodnight Swoet Marilyn - Larry Buchanan 
$29. Mandinga - Mandlngo-llke exploitation $27. One More Time - Early 70'a 
sexer w/ Ernest lookallks! $29. Holy Wednesday (Fangs) - 70' a snake horror 
$15. Hell's Aigels on Wheels - Jack Nicholson $19. Cutthroats Nina - Vio- 
lent western $25. Grave of the Vampire - 70'a horror $25. Little Miss 
Innocence - Similar to The Saduoera $25. Christmas Evil - The ultimate Xmoo 
movie $25. The Woman Inside - The Clen or Glenda of the 70'a $39. Pigo 
(Daddy's Deadly Darling) - $15. The Cremators - 70'a Z horror $25. Gone in 
60 Seconds - H.B. Hallekl. Original laoue $25. Sextette - Mae West $25. 
Revenge of the Wild Bunch (Machismo: 40 Graves for 40 Guns) - Box Office lnt. 
$25. Bloody Trail (Monteego) - Unique western w/ sex $25. The Mies Nude 
America Contest - Doe. filmed in Naked City, Ind. 1975. Original issue $19. 
Peychothrill - Sadlstle killer. Mexican $25. Caged Fury - Good Fhilllplnes 
action $25. Btvengs of ths Cheerleaders - Rslnbeaux Smith $27. Guess What 
w# Learned in School Today? - Early 70'a anti ssx-ed comedy $25. Death Wish 
Club - Great nolr-llke oddity $25. Little Girl, Big Tease - 16 yr. old held 
for ransom $35. Satan's Sadists - A1 Adamson biker. Russ Tamblyn $35. The 
Cara That Bat People (The Cara That Ate Paris) - Wioked black comedy $19. 
Deadbeat at Dawn - Definitive exploitation $25. Single Boom Fumlehed - 
Jayne Mansfield $25. Justine - Baaed on DeSade novel. Koo Stark $33. The 
Todd Killings - The original River'a Edge. Powerful $29. Terminal Island - 
Women sent to penal colony $29. Black Shampoo - Prime blaxploltatlon $29. 
Maneater of Hydra (Island of the Doomed) - Nice color print $25. Deadwood 
•76 - Arch Hall Jr. western $19. All the Lovin' Kinfolk - Hillbilly eex- 

{ loltation. Uochi Dlgard $25. She Devils in Chains (Foxfire) - Coleen Camp 
19. Children Shouldn't Play With Dead Things - Bob Clark $25. Dr. Black 
and Mr. Hyde - Bernie Caaey $29. Death Cure# of Tartu - Doug Hobart is 
Tartu $25. Dog Bat Dog - Jayne Mansfield $25. Death Game (The Seducers) - 
Coleen Camp ft Sondra Locke $25. Working Girls - Elvira topless! $29. Wild 
and Free - Euro eexplolter $19. Teammates - 70' s drlvs-ln type $19. Love 
Comp - Guru exploits his followers. Laura Gemser $29. Young Aphroditiss - 
Adolescent sexual awakening In ancient Greece $29. Coffy - Pam Grier is not 
to be meaoed with. Classlo exploitation $25. La Doloe Vita - Greatest movie 
aver. Subtitled. On two tapes $29. 


Following is a selection of adult titles. Most of these movies are from X- 
rated'a 'Golden Age', the period from 1970 to 1984, and were shot on film. 
Some of them deal with subject matter that would be considered too controver- 
sial to attempt today. And unlike the flat look of ourrent shot on video 
features, these aotually look like movies. Please state that you are at 
least 18 when ordering. 

Pizza Girls (Hot and Saucy Piece Girls- They Deliver) - Desiree Costeau 
$25. 3 A.M. - Brother and sister relations. Clair Dla. 1975 $25. Swingin' 

Stewardesses - Good example of early Euro. 1972 $25. The Other Side of 

Julie - "Pour of the all time beet scenes" - Only the Beat. Jackie O'Neill ia 
Aunt Ioabel $25. Body Talk - Heaven St. John (Aigelique Pettljrfhn) *25. 
Tomboy - 3he plays football but she 'a all girl *25. Star of the Orient - 
Kyoto Gee *25. Dreaae of Klety - Flashback to teen experience. Mlety Dawn 
*25. Sex World - Resort specializes in wish fulfillment. 1978 *25. Summer 

in Heot - Caspers attacked by raplata. Similar to Deliverance *35. 


Little Showoffe - Non-profestionxie act out their fantasies. Excellent *25. 
Swsedlah Erotica, Vol. 81 - Vintage loope from the 20' e and JO'o *29. Euro 
Loops of ths 70' • - This is a film transfer and doss not come in a picture 
box. 120 min. *25. Alloa In Wonderland - Kristine DeBell *25. Memories 
Within Miss Aggie - Spinster reflects on missed opportunities *19. Secret 
Desire - Infamous 70'a BAD sickle. This is a film transfer and doss not corns 
in a picture box. *19. The Trouble With Young Stuff - Christina Williams. 
Ill min.! *19. Heel People - Similar to Little Showoffe *19. The Kinky 
Ladles of Bourbon Street - Supernatural thame. French, retitled *19. The 
Budding of Brie - From wmltreee to movie star *25. Olrl Bustere - Rape 4 
transsexual *29. Hot Oven - Delivery boy delivers *19. I Want What I See 

- Euro swingers *19. Playglrle of Munich - 1973 $19. Blghouse Babes - Sat 

in women's prison. Retitle $19. Sexual Stats - College cheerleaders $19. 
Turbo Sex (Snow Honeys) - Rhonda Jo Petty, Saks $19. The Bite - Takeoff on 
The Sting $19. China Lust - Linda Wong $19. Dark Dreams - Tina Russell. 
Supernatural theme $19. Daisy May - Takeoff on Lll' Abner. Sue Nero, Holly 
Joy, Lyse Thatcher $19. The Devil's Playground - Sleazy appeal $29. Star 
Virgin - Karl Klark *19. Srotle Aiimntion Festival - Plus live short. Well 
done $19. Dr. Love - Samantha Pox *19. Rxpenoive Taste - Rape theme $25. 
For Richer, For Poorer - Georgina Spelvln *19. Getting Off - Kinky. Deeiree 
Coeteau *25. Indian Lady - Debbie True love *19. Little Orphan Duety - 
Rhonda Jo Petty $19. Love Lips - BJ special $19. New York City Woman - 
C.J. Laing, John Holmes $19. Lunch - Kurt (Thundercrack) McDowell $19. 
Teenage Madam - High alaaze $19. Miae September - Tina Ruaeell $19. Sweet 
Punkin* - C.J. Laing $19. Porno Scraentesta - Jennifer West $19. Odyssey 

- Vanessa Del Rio $19. Roller Babies - Terri Hall $19. Summer of Laura - 

Mareha Moon $19. Tangerine - Holly McCall, Cece Malone $19. Tinsel Town - 
Danielle Raye $19. Virgin Dreams - Jean Jennings $19. Hot Circuit - One 
of the first full length features. 1971 $19. Teenage Pajama Party - Barbi 

James $29. Nostalgia Blue - Vintage loops $19. Untamed - Kay Parker, Abi- 

gail Clayton $19. Virgin and the Lover - Man lovea his mannequin! Jennifer 
Welles $19. Sylvia - Baaed on Sybil $19. Student Bodies - Suele Muffett 
$19. Young, Wild and Wonderful - Condi Barbour $19. Aaour - French $19. 
Teeny Buna - Nancy Hoffman $19. Briar Patch Dolla - Oerman *29. Deep Rub 

- Desiree Costeau *19. Candi Girl - Serena *19. Devil's Ecstasy - Occult 

theme *19. Finishing School - Coed action *19. A Formal Foucett - Dorothy 

LeMay *19. French Romance (L« Chat) - Made guess where? *19. Josephine - 

Euro period place *19. Heavenly Desire - Saks *19. Hot Stuff in ths City 

- Debbie Ladd *19. House of 1001 Pleaeures - Buro *19. The Legend of Lady 
Blue - Maureen Spring *19. Love Couch - Humorous *19. Love Theater - Ger- 
man. Funny *19. Lure of the Triangle - Underwater action *19. Midnight 
Hustle - Teen hookers *19. Mobile Homs Olrls - Euro *19. Smalltown Girls 

- Valerie Darlyn *19. Powerbone - Originally tltlad Superman! *19. South 
of the Border - Debbie True love *19. Stephanie's Lust 8tory - Osna Lee *19 
Summer School - Laurien Dominique, Lyea Thatcher *19. Taxi Girls - Serena 
*19. Touch of Love - Andrea Martin *19. Triple Play - Mystery director *19 
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or a Rudy Ray Moore comedy album. 




• 4 6 


FSYCHOTRONIC 















GUTTER GODDESS OF SUNSET STRIP (91) D 
Dick Campbell, P/S/star Liana Lloyd 

This fascinating, mind numbing feature length 
video deserves a cult following. In real life, Lloyd, a 
California blonde who worked as a model and a 
reporter, grew up with a proud lesbian mother who 
drove in demolition derbies (!) and a “schizo” father. 
She later hit the TV talk show circuit (sometimes 
with her mom) to talk about her life. This tape has all 
her TV appearances (including Oprah and Phil), 
actual color home movies, plus recent reenactments 


of events in her life. Lloyd plays herself at various 
ages and her own mother! Lloyd’s daughter plays her 
as a little girl. GLITTER GODDESS... looks at the 
lesbian underworld of the 50s with compassion, 
passes through the drugged out 60s, then tries to 
recreate the glam rock 70s of Hollywood. Angela 
Bowie appears as herself and some guy lamely 
pretends to be Alice Cooper (“my mentor”). Various 
Ed Wood Jr. and Larry Buchanan movies came to my 
mind while watching this flawed but sincere tape. 
See ad for ordering info. 

WERNER HERZOG 

COBRA VERDE (Video Search, 88) D Werner 
Herzog, S Peter Green 

The late great Klaus Kinski (with long blonde hair), 
stars in his last (and least seen) of 5 Herzog features, 
as the brooding Francisco Manuel Da Silva (or Cobra 


Verde), a barefoot 19th century Brazilian bandit. A 
sugar cane field owner hires him to keep his slaves in 
line, but Verde has children with all of the man’s 
illegitimate black daughters. As punishment, he’s 
sent alone, to his “certain death” in Africa to reopen 
the slave trade. He’s successful and ends up training 
an all female (topless) army, is appointed Viceroy, 
and has 62 more children! It’s based on “The Viceroy 
Of Ouidah” by Bruce Chatwin and ends when slavery 
is (finally) abolished in Brazil in 1888. The ironic tall 
tale features bats, crabs, heads on poles, a cross eyed 
prince, an insane king and some 
extreme (real) cripples. The music is 
by Popoh Vuh. The W. German 
production was was shot in Dahomey 
and Bahai, Brazil and was backed by 
DEG. The tape (in English) has 
Spanish subtitles. 


SCREAM OF STONE (Video 
Search, 91) D Werner Herzog, P/S 
Walter Saxer, S Robert 
Geoffrion, P Richard Sadler, 
Henry Lange 

Donald Sutherland co-stars 
as a TV announcer and narrates this 
story about high stakes mountain 
climbing in Patagonia, Argentina. A 
young upstart challenges a master 
climber (Ultorro Mezzo Giomo) and 
claims he made it to a snow peaked 
mountain (while his partner falls to 
his death). He upsets the world of 
climbing, becomes a media celebrity 
and even takes away the man’s 
girlfriend (Mathilda May). It’s kinda 
slow going, but Brad Dourif is great as an eccentric 
“crazy” climber who gets the punchline. Also with A1 
Waxman as a crass TV producer and the director in a 
bit part. It’s a French/German/Canadian co- 
production in English. 


DAVID HEWITT 


MONSTERS CRASH PAJAMA PARTY (Sinister, 
64) P/D/S David L. Hewitt, S Jay Lister 

This fascinating short artifact is the closest you’ll 
see to an actual old live spook show. It starts with a 
long narrated comic intro with a gorilla director and 
laughter and screams. The cliche horror comedy 
shows 10 teens going to an old dark house for an 
initiation. The wisecracking guys leave the girls (now 
in nighties), not knowing about the mad doctor (Nick 
McGhee) with a Vampira like assistant, a gorilla and 
a hunchback. One girl is “turned into” a gorilla on an 


PSYCHOTRONIC • 47 



operating table and they’re all chained up in the 
dungeon. Then comes the “blackout,” lightning, 
screams - and the monsters would run out into the 
theatre audience! Great stuff, and it’s followed by a 
trailer for MONSTERS... (“In Fantastic Horror 
Vision!”) and three live spook shows (Dr. Sin, 
Houston’s Hallucinations and Dr. Rome The 
Ghostmaker). 

LUCIFER COMPLEX (VCI, 76) D/S David L. 
Hewitt, D Kenneth Hartford, S Dale Skillicorn, 
P David E. Jackson 

After “the great war” of 86, a survivor in a cave on 
an Hawaiian island (William Lanning) sits and 
watches “every document of mankind” (including old 
war footage, a band at a rock festival (and the bulk of 
this pathetic movie). An agent (Robert Vaughn) 
watches a belly dancer, then goes to a Nazi prison 
camp (in Florida) where 
naked people are kept in 
suspended animation. 

Aldo Ray is a German 
guard there (“Ya Ya”). 

Vaughn and a female 
inmate (Merrie Lynn 
Ross) attempt to escape 
with other women with 
machine guns, but he’s 
cloned and has to fight 
himself! Oh yeah, Hitler 
(with grey haire and big 
ears) is still alive! He can 
disappear like a ghost (?) 
and is going to take over 
the world with his 
clones! Also with Keenan 
Wynn, Leo Gordon and 
Victoria Carroll. Some of 
the footage was leftover 
from Hewitt’s unfinished 
“Women Of Stalag 13” 
aka “Hitler’s Wild 
Women.” Hewitt made 
THE MIGHTY GORGA 
(PV#6) and THE 
TORMENTORS before 
this Gold Key 
production, which went 
direct to TV in 1979! 

ENGLAND 

REFLECTING SKIN (Live, 90) D/S Phillip 
Ridley 

To say that this disturbing, visually stunning, 
complex movie resembles DAYS OF HEAVEN 
directed by David Lynch doesn’t really do it justice. A 
destructive young boy (Jeremy Cooper) living in the 
midwest American prairie witnesses the world 
around him. His family is disintegrating, everybody 
is mean or crazy and a pack of JD kidnappers seem to 
be killing his friends. His brother (Vigo Mortensen) 
returns from WWII with a photo of an A bomb victim 
(this is where the title comes from) and the weird 
sheriff claims that a turtle got his hand. With all the 
real horrors and sickness around him, he thinks that 
a mummified baby is an angel and that a British 


woman (Lindsay Duncan) that lives in an isolated 
house is a vampire. The British production was 
filmed in Ontario. The music is by The London 
Chamber Orchestra. It was made by the screenwriter 
of THE KRAYS and was released by Miramax. 

PAPERHOUSE (Vestron, 88) D Bernard Rose, S 
Mathew Jacobs, P Sarah Radclyffe 

Charlotte Burke stars as an imaginative 11 year old 
girl, who lies a lot. When she’s bedridden, her 
drawings become real during her fever dreams and 
affect the life of a dying boy her doctor told her about. 
She adds new details to his barren house but when 
she crumples up and throws away the drawing, the 
house is in ruins. Ben Cross shows up in scary scenes 
as her alcoholic father. Glenne Headly is her mom. 
The RCA soundtrack is by Hans Zimmer and Stanley 
Myers. The fascinating PG-13 fantasy was based on a 

novel (“Marianne 

Dreams”) by Catherine 
Storr and was the debut 
feature by a rock video 
director who later came 
to America and made 
CANDY MAN. The tape 
opens with a Joyce 
Jillson astrology ad. 

WYNORSKI 

SORORITY HOUSE 
MASSACRE II (New 
Horizons, 90) P/D 
“Arch Stanton’VJim 
Wynorski S Mark 
McGee, James B. 
Rogers 

(NIGHTIE 
NIGHTMARE). A black 
hooded killer with a hook 
stalks five girls trapped 
in a house. They (tall 
blonde Melissa Moore, 
the British Robyn Harris, 
Bridget Carney, Stacia 
Zhivago and Dana 
Bently) take showers, 
dance topless and 
scream. Moore becomes 
possessed. Cops who hand 
out at a strip club eventually show up and Peter 
Spellos plays big menacing Orville Ketchum. The 
ridiculous Roger Corman/Concorde release features a 
long flashback from SORORITY HOUSE 
MASSACRE (86). The music is imitation Morricone 
(Stanton was the name on the tombstone in THE 
GOOD, THE BAD AND THE UGLY). This was 
filmed back to back with HARD TO DIE (below). 
They both have the same basic plot, some of the same 
girls, the same flashbacks, the same cops and Orville. 

HARD TO DIE (New Horizons, 90) P/D “Arch 
Stanton w /Jim Wynorski, S Mark McGee, James 
B. Rogers 

(TOWER OF TERROR) Moore, Harris and Carney 
(plus Lindsay Taylor and Debra Dare) arrive at a 
closed office building for an inventory job at “Acme 


REFLECTING SKIN 


PSYCHOTRONIC • 48 



Lingerie.” This one is 
funnier and has more 
brainless action. They 
take showers, try on 
underwear, move boxes 
up stairs and walk around 
until one (Taylor, who is 
one of the best looking 
women in these movies) 
becomes possessed. 

There’s a gun shop in the 
building too, so you get 
women in lingerie 
shooting each other with 
machine guns. Orville 
seems to be a killer 
zombie and Forry 
Ackerman has one of his 
largest roles ever as a 
professor, although he 
never leaves his office. 

Posters for Wynorski 
movies are on a wall. The 
video box compares it to 
DIE HARD! 

THEODORE GERSHUNY 

KEMEK (Genesis, 70) D/S Theodore Gershuny, 
Don Patterson, P/S Harry Millaro, P Jack 
McCallum 

(FOR LOVE OR MURDER) Most of this confusing 
movie is an on/off flashback. There’s a nightmare in a 
flashback and a b/w flashback in a flashback. Star 
Mary Woronov said it was “unfinished” so that 
explains things, sort of. A man and a detective 
(Charles Mitchell from PORKY’S) visit Mary 
Wonderly (Woronov) and get drunk as she relates 
Naples flashbacks about an experimental pleasure 
drug and how Marisa Love (Alexandra Stewart) died. 
Mary (who wears different clothes in nearly every 
scene) worked for a blonde guy (Helmuth Schneider) 
and David Hedison is an unshaven writer whose 
friend is killed. Hedison has a bad trip scene and a 
futuristic (?) video tape looks suspiciously like an 8 
track tape. It was filmed in Canada and Italy and 
was a W. German co-production. The music is by The 
Modern Jazz Quartet and the original “Nowhere To 
Run” is the theme song. Available from Tempe. 

SUGAR COOKIES (Vid America, 72) D/S 
Theodore Gershuny, S/act Lloyd Kaufman, P 
Ami Artzi 

Mary Woronov and Lynn Lowry (in two roles) star 
in this rare NYC feature about sex, mind games, 
murder and making movies. It’s similar in some ways 
to PERFORMANCE and is a lot more interesting 
than most of today’s “erotic thrillers.” Woronov and 
Lowry have nude scenes together and the haunting 
“Sally Go Round The Roses” by the Jaynetts, always 
rumored to be a lesbian theme, is on the soundtrack. 
Also with Warhol stars Ondine and Monique Van 
Vooren and porn star Jennifer Welles. A 42nd St. 
marquee announces SEE NO EVIL and DIE, DIE MY 
DARLING. Troma president Kaufman (also the 
executive producer) plays a lawyer. COOKIES was 
given an X, but was later recut for an R. Gershuny 


made SILENT NIGHT, 
BLOODY NIGHT next 
(with Woronov). Then 
they were divorced and 
Woronov was in SEIZURE 
by Oliver Stone - who was 
the associate producer of 
SUGAR COOKIES! 

EURO 

DEVILS FEMALE (CIC, 
74) D Michael Walter, S 
August Rieger 

(MAGDALENA 
VON TEUFEL 

BESESSEN). A cheerful 
blonde orphan (Dagmar 
Hedrich) at a boarding 
school is possessed by an 
invisible demon. The loud 
sound of flies is heard 
when she has her 
“seizures,” sometimes 
furniture flies around and 
she says things like “You 
dirty nun fucker!” Psychiatrists hypnotize her. She 
speaks in many voices, and eventually throws up 
snakes and is OK. The star of the W. German 
feature, a former model, is naked a lot and is 
extremely enthusiastic in the role. It was produced 
the same year as THE TEMPTER, BEYOND THE 
DOOR, DEMON WITCH CHILD and other 
possession movies and played (as BEYOND THE 
DARKNESS) in US theatres. The out of print tape is 
from Canada. 

LES RAISONS DE LA MORTE (Video Search, 
78) D/S/act Jean Rollin, S/act Jean-Pierre 
Bouyxou, Christian Meunier, P Claude Guedj 

A woman (Marie-George Pascal) takes a train ride. 
Her friend is killed by a crazed man and she wanders 
into grape country where people who have drunk 
wine become zombies and kill each other. A man kills 
his (topless) daughter with a pitchfork and a (topless) 
woman is crucified and decapitated. I think some 
men die too. Zombies laugh, cry and say “Je t’aime” 
while killing. Brigette Lahaie, who lives in the 
mayor’s house and walks two big dogs, appears 
normal. Two guys who shoot zombies are allright 
because they drank BEER! The bits of organ music 
sound pretty goofy. Video Search Of Miami has 
subtitled this and other French Rollin horror titles. 

HOWL OF THE DEVIL (Video Search, 88) 
D/S/star Paul Naschy/Jacinto Molino, S 
Salvador Sainz (no credit) 

(EL AULLIDO DEL DIABLO) Alex (Naschy), a rich 
reclusive horror star died (a suicide) in 81. His lonely 
son (Naschy’s son Sergio) now lives with the star’s 
nasty twin unsuccessful actor brother Hector 
(Naschy), his servant Eric (Howard Vernon) and 
Carmen the cook (Caroline Munro, sometimes played 
by a double). Hector dresses up as Rasputin, Fu 
Manchu or Bluebeard and fools around with hookers, 
who are later found dead. The son watches his 
father’s movies on TV and various characters show 



SUGAR COOKIES 


PSYCHOTRONIC • 49 



up in real life. A friendly Frankenstein monster, Mr. 
Hyde, the wolfman, Quasimodo and the Phantom (all 
Naschy) appear. Meanwhile Hector (and a local 
priest) lust after Carmen. The nutty Naschy overkill 
movie has nudity, some gore, a zombie and the Devil 
himself! As Eric says, “He was a great actor!” The 
print (from Spanish TV) has been subtitled in 
English. 


60s 



IF YOU ARE OLD ENOUGH TO BE MARRIED 
YOU MUST SEE IT 

IF YOU ARE NOT OLD ENOUGH TO BE MARRIED 
YOU CAN NOT SEE IT 


Do pi know the 
law in ijour State? 


COMMON LAW WIFE (Something Weird, 63) D 
Eric Sayers, S Grace Nnowland, P Fred A. 
Kadane 

M.A. Ripps (POOR WHITE TRASH) presented this 
b/w feature, made in Texas. It’s similar in some ways 
to the rural dramas Russ Meyer was about to make, 
with good dialog (written in this case by a woman), 
but minus the comedy. A rich corrupt old man, 
throws out his live in lover Linda (Annabelle Lee) 
and asks his gold digging niece Baby Doll (Lacy 
Kelly) to move in. Kelly (also in Irving Klaw’s 
NATURE’S SWEETHEARTS) is great as the 
sarcastic, wild beauty who uses the (married) sheriff 
and “Bull” out in the swamp to get what she wants 
and plots murder. Linda fights back and the ending is 
outrageous! I liked all the twisting in the club too. 
Mike shadows are visible. Lee went on to act in S. F. 
Brownrigg movies like DON’T LOOK IN THE 
BASEMENT. I want to see Sayers’ other movie - THE 
GARBAGE MAN (!) 


FRIGID WIFE (Something Weird, 62) D Paul 
Landres, Ben Parker, P/S “John Kenlo’VJulius 
Weinstein, S Sam Roeca, George Wallace Sayre, 
P David Diamond 

A doctor introduces several patients who have 
flashbacks (about emotional disorders and 


impotency). This was made by Parker and “Kenlo.” 
Then the real story begins. It was originally a 1950 
Monogram movie called MODERN MARRIAGE. A 
Newlywed (Margaret Field) runs away from her 
husband (Robert Clarke) on their wedding night and 
attempts suicide. She goes to a rest home and has a 
flashback to the 40s. This is followed by her 
husband’s flashback, then her mother’s (!) flashback. 
Reed Hadley (with his little mustache) plays a doctor. 
Clarke and Field (Sally’s mother) were also in MAN 
FROM PLANET X (51) together. Landres later 
directed THE VAMPIRE (57) and THE RETURN OF 
DRACULA (58). 


KAREN BLACK 

CHILDREN OF THE NIGHT (Col, 91) D Tony 
Randel, S Nicolas Falacci, P Christopher 
Webster 

In a dark, dreary, misty, empty small town, a young 
priest keeps two female vampires (Karen Black and 
Maya McLaughlin) chained up in a room. They sleep 
covered with goo, eat leeches and are controlled by a 
tall ex-priest/vampire with a mutant face (David 
Sawyer). The submerged crypt under a church set is 
interesting, but this movie is senseless and irritating. 
Top billed Black gets to rant in her one scene. Ami 
Dolenz stars with Peter DeLouise as a teacher. 
Garrett Morris drinks and preaches from a van with 
an electric cross on top. The Fangoria production was 
shot in Wisconsin and Michigan by the director of 
HELLBOUND (which didn’t make any damn sense 
either). KNB handled the FX. 

AUNTIE LEE’S MEAT PIES (Col, 91) D/S J. F. 
Robertson, P/S Gerald Stein 

Karen Black is a satanist who sends out her four 
cheerful and beautiful nieces to lure men back so 
they can be killed, ground up and sold as pies. 
Members of a heavy metal band are the main victims. 
The humor is pretty odd, the FX are laughable and 
Kristine Rose, Ava Fabian, Teri Weigel and Pia 
Reyes (all from the pages of Playboy) do not have the 
expected nude scenes. Each one has her own “fantasy 
room” though and there’s also a full grown female 
“baby.” The cast includes Michael Berryman (in a 
larger than usual role) as a handyman, Pat Morita as 
the sheriff, Huntz Hall (!) and Kasha. The Mentors 
and Suicidal Tendencies are on the soundtrack. Black 
and Berryman have been in several movies together, 
including the recent EVIL SPIRITS. Robertson 
produced THE CRAWLING HAND and later made 
many porno features as “Adele Robbins.” 

RECENT 

DEAD END (92) P/D/ed Robert Tiffe, P/S/star 
Martin King 

In a very effective supernatural road movie, Frank 
(King), a big long-haired killer, dominates his 
sometimes reluctant partner Harold (Robert 
Restaino) from back East. They pay for their acts of 
senseless violence on a seemingly endless desert road 
going through an Indian reservation, as victims show 
up in different forms to torment them. The two stars, 
who have a lot of dialog, are very convincing in their 
roles. With b/w sex/murder flashbacks, some freak 


PSYCHOTRONIC • 50 



out editing and some great looking women. There’s a 
good rock theme and a soundtrack (by Legal Weapon) 
on Triple XXX. If you can help find a distributor, call 
Robmar at (818) 780-6110 

THE GUYVER (New Line, 91) D/FX Screaming 
Mad George, Steve Wang, S John Purdy, P 
Brian Yuzna 

(MUTRONICS) A college student (Jack Armstrong) 
becomes an Inframan-type armor-plated hero and 
fights lots of bad guys turned into monsters. THE 
GUYVER is a fun American movie based on a 
popular Japanese comic book by Yoshiki Takaya. 
Vivian Wu co-stars as a scientist’s daughter and 
Mark Hamill is a CIA agent who becomes a cockroach 
(!) monster. The scientist villain (the late David Gale) 
turns into a giant dino-monster in his underground 
lab for one of the many fight scenes. Michael 
Berryman, Jimmy Walker (who raps), Spice Williams 
(who also does stunts) and Peter Spellos all become 
monsters too. Also with Jeffrey Combs, Linnea 
Quigley and first AD/2nd unit director Tom Rainone 
in a fun gag scene. Wang also made RUNG FU 
RASCALS. Episodes of the Japanese Guyver TV 
cartoon show are also on tape (from U.S. Renditions). 

WAX OR THE DISCOVERY OF TELEVISION 
AMONG THE BEES (91) P/D/S/star/narrates 
David Blair 

A deadpan voice narrates this mesmerizing, 
complex, unique and well made science fiction 
“documentary” video. It involves bees, spirit 
photography, the Trinity bomb and the Tower Of 
Babel. The 2001 influenced special FX and editing 
are top notch and lots of computer graphics and old 
film clips are used. It was made on location at 
Carlsbad Cavern and the Trinity site with a NYSCA 
grant and backing from the AFI and took 6 years to 
complete. $36 to PO Box 174, Cooper St., NYC 10276. 

SICK 70s 

CANDY SNATCHERS (73) D Guerdon 
Trueblood, P/S Byron Gindoff 

Here’s a real find, an obscure and well made 
exploitation movie that delivers and has clever, 
unexpected plot twists. Tiffany Bolling and two guys 
kidnap a pre-teen girl named Candy (Susan Sennett) 
and bury her alive, waiting for the ransom money 
from her wealthy parents. The plot flirts with rape, 
incest, drugs, dismemberment and murder. The 
soundtrack is period “wacka wacka” guitar and the 
theme song is “Money Is The Root Of All Happiness.” 
Tiffany Bolling was also in WICKED WICKED, 
CENTERFOLD GIRLS and KINGDOM OF THE 
SPIDERS. Sennett (who has a topless scene) was one 
of OZZIE’S GIRLS on TV the same year (!) This 
General Film Corp. release (presented by Arthur 
Marks) has not been officially released on tape, but 
can be found mail order. 

BLOOD SABBATH (JLT, 72) D Brianne Murphy, 
P/S William A* Bairn, P Lisa Fluet 

(YYALAH) This is sort of a fairy tale for adults and 
is a must for the GENERAL HOSPITAL fan in your 
life. Tony Geary is a hiking Nam vet with an acoustic 
guitar, sandals and sideburns. While sleeping in the 



THE GUYVER reads P SYC H OTRON 1C ! 
Photo by Tom Rainone 


woods of Mexico (?), five naked hippie women 
(including Uschi Digard) wake him and chase him. He 
hits his head on a rock, then is woken again , this time 
by some kind of nice “sea goddess” named Yyalah 
(Susan Damante with a terrible blonde wig and too 
much eye makeup). The evil topless Queen Alotta 
(Dyanne Thorne!) wears a crown, red cape and a black 
bikini bottom, but her female followers are always 
naked. Alotta plans to sacrifice a child. The tortured 
Geary just wants to spend a night with Yyalah, so he 
offers his soul and drinks blood. With baby killing 
Nam flashbacks, topless dancing, the decapitation of a 
priest, a freak out sequence and weird music 
(theremin, flute...) Hugo Grimaldi (THE HUMAN 
DUPLICATORS) was the supervising editor. 

80s 

DU-BEAT-E-O (Fox Hills, 84) P/D/S Alan Sachs 

In 79, Joan Jett (and some substitute Runaways) 
starred in a movie, “We’re All Crazy Now.” It was 
never released, but here is where the footage ended 
up. Ray Sharkey (who says he was a junkie at the 
time) stars (and narrates) as an in your face director 
in hock to gangsters. He holes up in a studio to finish 
a feature starring Joan Jett. He forces his editor 
(Derf Scratch from Fear) to work around the clock at 
gunpoint while having sex with an innocent blonde 
(Nora Gaye). He rants over the Jett concert footage so 
you can’t hear the songs. That’s the whole plot. You 
also get lots of real fast editing and Gary Panter art, 
mondo death footage, WWII propaganda, puking, 
gore, Joanna Went performance art (presented as a 
nightmare) and on screen songs by Tex And The 


PSYCHOTRONIC • 51 



Horseheads and The Mentors. One song is by 
Rainbeaux Smith! This thing is nuts! It played in 
theatres (!) P.S. - Will the person who sent this tape 
in please call or write! 

WINTERBEAST (Tempe, 86) D/S Christopher 
Thies, P/edit Mark Frizzell 

Forest rangers deal with legendary creatures in a 
just released local movie filmed in Newbury, Mass. 
Most of the animation (tree monster, lizard 
creature...) is pathetic, but I like it anyway. A creepy 
character named Sheldon looks kinda like Malcolm 
McDowell. He prances around a room while an entire 
old record (“Oh, Dear, What Can The Matter Be”) 
plays. I still can’t get that damn song out of my head! 
A hooded demon (good makeup) makes an 
appearance, there’s some gore and one topless scene. 
The screams are from the old Disney “Chilling, 
Thrilling Sounds Of The Haunted House” album (!) 

DR. DRACULA (81) D/S Paul Aratov, D A1 
Adamson, S Cecil Brown, Gary Reathman, P 
Lou Sorkin 

A magician/hypnotifet/author with a pointy beard 
(Larry Hankin) is the reincarnation of Svengali. His 
evil publisher (who is also reincarnated) tells him 
what to do. It’s a reworked version of a previously 
unreleased feature called LUCIFER’S WOMEN (75), 
with the addition of a vampire/psychiatrist (Geoffrey 
Land). It’s a real effort to make sense of it all but 
there’s some bizarre and interesting things going on. 
After an exorcism, two identical Svengali’s discuss 
what’s going on. With John Carradine as a satanist, 
Donald Berry as a worried father, Jane Bruntel 
Cohen as a “pure soul” and Regina Carrol. Anton 
Lavey (!) was the technical advisor for the black mass 
scenes (complete with animal noises). Sam Sherman 
provided additional dialog and Gary Graver has a 
cinematography credit. It’s been on USA cable and 
the tape was released in Europe. 

DEADLY NEIGHBORS (VCI, 80) D/S/edit Don 
Dohler 

(FIEND) Mr. Longfellow (Don Leifert from ALIEN 
FACTOR), a suburban music teacher who teaches in 
his bare basement, is really a resurrected corpse! The 
large sweaty, bug eyed, rude man with a mustache 
and all black clothes makes the neighbors suspicious 
as he kills off local women (and even a little girl). He 
sometimes glows red and he talks to his cat and Mr. 
Frye (George Stover) the manager of the “Music 
Academy.” They constantly say mister Longfellow 
and mister Frye and mister whatever. There are 
several plugs for Dohler’s “Film Magic” book in this 
tale from Milford and Kinsfield, Delaware. 

NEW YORK AREA 

THERE’S NOTHING OUT THERE (Prism, 90) 
D/S Rolfe Kanefsky, P Wolf Kanefsky 

After a good nightmare sequence in a video store, 
this becomes a very knowing comedy take off of teens 
in a cabin horror movies. The sarcastic odd man out 
horror film fan Mike (Craig Peck) keeps warning 
about what is bound to happen but the others only 
care about sex. Nearly every female cast member has 


topless or nude scenes and one (Bonnie Bowers) 
wears an excellent swimsuit. One is possessed, 
there’s a (briefly seen) slimy green monster and a 



decapitation. The New Jersey feature, made for 
“$300,000,” played some midnight shows last year. It 
has very good cinematography, music and acting and 
some funny lines. The 20 year old director’s father 
owns an editing facility. 

HOUSE ON TOMBSTONE HILL (AIP, 87) P/D/S 
James Riffel, P Melisse Lewis 

(THE DEAD COME HOME, DEAD DUDES IN 
THE HOUSE) Seven young people trapped in an old 
rundown remote house are attacked by a laughing old 
woman ghost (Douglas E. Gibson) with scissors. Some 
of them become zombies. There’s also a little girl 
ghost and a whistling zombie. A hand is cut off and 
one guy is cut in half (Ed French did the FX). The 
creepy 16 mm EVIL DEAD inspired Troma release 
was shot in Cherry Valley, New York by a 28 year old 
NYU grad. 

SAVAGE LUST (AIP, 89) D/S Joseph Laraz, P 
Brian Smedley-Aston, Angel Somolinos 

Six young people on vacation pick up a fugitive 
hitchhiker and go to an old abandoned house. A 
gloved mystery killer picks them off and a flashback 
eventually explains who and why. There’s nude 
photos and a sex nightmare, but the visual highlight 
is a Big Boy statue. With William Russell and 
Jennifer DeLora. It was made (by people who used to 
make movies in England) in Suffem, N.Y., near Bear 
Mountain. 

GHOUL SCHOOL (CVH, 90) P/D/S Timothy O’ 
Rawe 

Toxic gas released in a high school boiler room turns 
members of the swim team into running blue zombies 
with fangs. A rock band (“The Blood Sucking 
Ghouls”) and two nerd horror fans are trapped in an 
auditorium (like in DEMONS). There’s lots of 
(amateur) gore but the best (?) part is Joe Franklin (!) 
in his office talking on a phone with Jackie “the Joke 
Man.” There’s a build up for Franklin to become a 
zombie too, but it never happens. The guy who plays 
the principal is one of the worst actors in memory. 
David DeCoteau was the executive producer. It was 
made in Wayne, New Jersey. 

PUSS BUCKET (91) D/cine Lisa Houle 

Two long-haired brothers (“ignorant humanoids”) 
are affected by a (toy) spaceship that hovers over 
their house. One brother dreams that he’s Christ and 


PSYCHOTRONIC • 52 



goes out to kill “demons.” A scientist dances and sings 
about UFOs. There’s a cat fight (in the Scrap bar), a 
gorilla suit and a Dianetics guy in drag. The fun, but 
too long science fiction musical was shot in grainy 
b/w super 8. The music is very good. PO Box 245, 
Prince St. Station, NYC 10012. 

DICK AND JANE DROP ACID (Surf Reality, 91) 
D/act Matt Mitler, S/act Jeff Eyres, P Robert 
Pritchard 

In the tradition of old roadshow movies, this opens 
with an anti-LSD lecture, has flashbacks and stars 
innocents led astray. Long-hairs smoke pot in a 
basement and electric cool aid is served at a “cube” 
party. Undercover cops get high and freak out. The 
British pusher/villain has to deliver three new 
addicts a month. The music is by A Thousand Tiny 
Fingers. It was shot on tape in the East Village. 
Mitler was in BASKET CASE II, SPRING BREAK 
and others. PO Box 20708, Tomkins Sq., NYC 10009. 

KIDS’ STUFF 

PUSS IN BOOTS (Rhino, 1955) D Herbert B. 
Fredersdorf, P Hubert Schonger 

(DER GESTIEFELTE KATER) Three brothers 
(with weird hair) live in a mill. One inherits the mill, 
one gets the donkey and the other just gets a female 
cat who talks and sings. Of course, the cat (a person 
in a suit who runs upright) helps battle an evil 
magician and his owner becomes a duke and gets the 
princess. AIP released this color W. German feature 
(and a 61 Mexican version of the same tale). Paul 
Trip narrates. Young kids might enjoy it. 



RUMPELSTILTSKIN (1955) D Herbert B. 
Fredersdorf, P Hubert Schonger 

(RUMPELSTILZCHEN) This color W. Germany 
fairy tale (released here by K. Gordon Murray) is 
worth watching for the tiny little bearded dwarf (see 
photo above) who levitates things and helps the 
miller’s pigtailed daughter when she has to spin gold 
for the king. If he’s in other movies, I want to see 
them. This one’s narrated by a woman. 

THE MAGIC WEAVER (United, 1960) P/D 
Alexandr Rou, S Eugene Schwartz 

( MARI YA-ISKUSNITSA) The director of this color 
fairy tale made many fantasy films in the USSR at 
the “Maxim Gorky Studios.” It has lots of special 
effects, fantasy sets and excellent animal footage. A 


happy singing soldier helps a kid rescue his weaver 
mother from a wizard king with an underwater 
kingdom. The captive mom says, “Freedom or 
slavery. It is all one.” I liked the frog man and the 
pirates who sing in Russian. Allied Artists released it 
here in 65, then Jeffrey C. Hogue put it on tape. 

DOCS 

SPOOKS-A POPPIN’ (Cinemanure, 92) P/D/S... 
Jim Ridenour 

This unique historical tape features many rare 
vintage spook show trailers, film clips, interviews 
with Don Davison, Dr. Houston, Phillip Morris (now 
owner of a very successful mask/costume business) 
and (a very old) Ray-Mond showing his collection in 
his trailer. The brother of spook show king Jack 
Baker is seen on stage doing a show and the A-Bones 
provide the instrumental theme. The editing and the 
interview camerawork are amateur at best and the 
many wonderful rare posters are hard to see, but this 
is a labor of love project and is a must for fans of last 
issues’ Spook Show Racket. The VAMPIRE’S 
COFFIN/ROBOT VS. THE AZTEC MUMMY trader 
in “Hypnoscope” is a personal fave. $30 to PO Box 
10343, Sarasota, FI 34278. 

WARREN OATES: ACROSS THE BORDER (92) 
P/D Tom Thurman 

“For some of us, Warren Oates is the only human 
being in pictures.” That’s how this excellent look at the 
late Kentucky bom actor with “the meaningful squint” 
begins. Many choice film clips (THE SHOOTING, 
COCKFIGHTER, 92 IN THE SHADE, BRING ME 
THE HEAD OF ALFREDO GARCIA, in which he 
“played” director Sam Peckinpah...) are shown and 
some of the people interviewed are Monte Heilman, 
Peter Fonda, Stacy Keach, Robert Culp and Harry 
Dean Stanton. Ned Beatty (also from Kentucky) 
narrates. Despite good reviews, at presstime this had 
not been bought for screening or airing in America. If 
you are in a position to do something about this, call 
Thurman at (606) 236-9340. 

ARGENTO: MASTER OF HORROR (Video 
Search Of Miami, 91) D/S Luigi Cozzi. 

Producer and director Argento’s more recent 
features are examined behind the scenes in the 80 
min. sequel to WORLD OF HORROR (Vidmark, 85). 
Pino Donaggio, Michelle Soavi, Cozzi and of course 
Argento are interviewed. You see how the bullet FX 
were achieved in OPERA and how melons and meat 
are stabbed for sound effects. Argento poses at Poe’s 
gravesite in Baltimore and says producers “are like 
rampaging demons born in my brain, but raised by 
someone else.” TWO EVIL EYES, THE CHURCH 
and DEVIL’S DAUGHTER are also covered. The 
Italian language tape has been subtitled in English. 

INVASION OF THE SCREAM QUEENS (See 
More Video, 92) D Donald Farmer 

It could have used some more editing, but lots of 
actresses are interviewed on this tape and movie 
scenes and trailers (lots of David DeCoteau) are 
included. The expected (Brinke Stevens, who says she 
“looked like a werewolf” as a kid, Michelle Bauer and 
Melissa Moore, who talks a lot) are here along with 


PSYCHOTRONIC • 53 


actresses from Mark Pirro movies, Janus Blythe, 
Vivienne Schilling, Elizabeth Kaitan (on way too 
long), Martine Beswick and Monique Gabrielle (bad 
takes and all). The best of all though is Mary 
Woronov, who talks about (and shows) some of her 
paintings and remembers working for Warhol, 
Corman and others. A whole tape of her talking 
would be interesting. 

COMPS 

DARK SHADOWS BLOOPERS (MPI, 93) 

This is perfect tape for those who never liked the 
original daily DARK SHADOWS (66-71) much (like 
me). Countless embarrassing and funny mistakes 
(that have been seen now for 
years in syndication and on 
tape) are crammed into 45 
minutes. Actors trip, hit their 
heads and try to ignore flies on 
their faces. Stage hands, 
cameras and microphones 
intrude everywhere. Visual and 
audio FX go wrong in every 
possible way. You can hear 
directors feeding lines to 
confused actors. Kid actors and 
the many real candles used 
provide endless problems. Doors 

■ refuse to open and walls and 
gravestones move. It’s no 
wonder that so many character 
names were mangled, since 
many actors played as many as 
5 (!) different people in alternate 
time periods. The tape is very 
well edited and includes footage 
from the early h/w years. Recommended! 

HEY FOLKS, IT’S INTERMISSION TIME Vols. 
1/2 (Something Weird) 

These tapes, running 100 minutes each, are the 
ultimate comps for drive-in fans. They’re from the 50s 
through the 70s and include ads for snack bars and 
food (Pepsi, hot dogs, Tommy’s Potato Chips...), local 
(Lancaster, PA, Chillcothe, OH, McCallister, OK...) 
businesses and churches and best of all - spook shows 
(“Man Buried Alive!”) There are also many variations 
on intermission countdowns, holiday greetings (with 
father time and a baby) and ads urging you to vote, 
fight against pay TV or resist daylight savings time 
changes. 

I bought copies of the sell through tapes ELVIS IN 
THE MOVIES (Goodtimes) and JAMES BOND AT 
THE MOVIES (Amwest) at a shopping center and 
I’m glad I did. The Elvis comp is complete, featuring 
trailers for 33 movies (56-72). Plugs for soundtracks 
end many of them and some are letterboxed. This 
points out how the king’s acting career parallel 
Godzilla (going from threatening tough guy to nice 
guy who hung out with little kids) and shows just how 
ridiculous his Sam Katzman movies were. The Bond 
comp ends with A VIEW TO A KILL (85), so is 
missing the Timothy Dalton movies. Still, it’s 
fascinating to see all the European co-stars and the 
DR. NO trailer (the longest) is especially great. Sid 


Haig is in the DIAMONDS ARE FOREVER trailer 
and Roger Moore’s painfully obvious double is in the 
one for LIVE AND LET DIE. I also caught the now 
dated but still amusing BUSHWACKED and 
QUAYLE SEASON (both from Polygram), comic bios 
of our former elected leaders with choice quotes and 
scenes. 

SHORTS 

SIGNAL 30/WHEELS OF TRAGEDY. The Ohio 
State Highway Patrol in Mansfield (not far from 
where I grew up) made these classic graphic color 
driving safety films in the early 60s. The first 
features lots of real mangled accident victims. One 
man is described as “a mass of 
charred flesh.” For the second, 
they recreated events leading up 
to crashes, using actors, then 
show you the (real) results. The 
first victims are two black guys 
who fall asleep and plow into a 
truck. A patrolman trainee 
learns to cope with the carnage 
and earns “$440 a month.” At 
the end, Mansfield is seen 
devoid of people, because 
“43,000” people die in American 
crashes yearly and that’s the 
city’s population, followed by a 
big - WHY?. From Mutilation 
Graphics, 3765 Oriole St., Shrub 
Oak, NY 10588. BLACK 
HEARTS BLEED RED (92) 
P/D/S/edit Jeri Cain Rossi. 
Here’s an excellent 15 min. b/w 
short based on a Flannery 
O’Connor short story. A Southern family (including a 
sexy, hard drinking mother in law) traveling on the 
road are killed by “The Misfit,” a philosophical killer 
(played effectively by artist Joe Coleman) and his 
henchmen. The vintage music is by Hank Williams, 
Ernie Ford and others. It was a Mass. College Of Art 
project. $17 ppd. to 177 S. 9th #2. Brooklyn, NY 
11211. SONG OF THE LEMMING (92) P/D/S/edit 
Ron Ford. S. P. Somtow (THE LAUGHING DEAD, 
PV #3) stars as a man from the future in this half 
hour tape. He visits a failing L.A. hippy radio station 
and gives the owner a tape that causes listeners to 
become violent. The last scene is the L.A. riots (!) 
Somtow also wrote the music. $18 ppd. to PO Box 
923171, Sylmar, CA, 91392. CINEFEAR 
SAMPLER. Since this was mentioned in PV #13, it’s 
been expanded to contain 8 color and b/w horror 
shorts, all by Keith J. Crocker and/or Joseph F. Parda 
(who also act). There’s a bit of nudity, blood and some 
decapitations. A real graveyard is a good set and 
familiar film scores are used. The actors have strong 
Long Island accents. $30 to Crocker, 431 Haven PL, 
Hewlett, NY 11557. DOUCHE BAG MURDERS. A 
young guy in a plaid work shirt and a stocking cap 
strangles women with a rubber hose. A detective and 
a coroner investigate. Many of the color tape’s stars 
have long hair. From Poor Sport, 819 N. 2nd St., San 
Jose, CA 95112. P.K. DIS. Punks with wild hair and 
leather jackets run a lot and battle a black masked 
Ultra Man type character, who eventually is defeated 



PSYCHOTRONIC • 54 


by a steam shovel. It’s all monitored on a video screen 
by scientists. The color film (in Japanese) has a punk 
rock score. Asia Records, JH 549, 825 Ishihata, 
Mizuho-Machi, Nishitama-Gun, Tokyo, Japan. I 
LAUGH AS YOUR BODY LIES BLEEDING is a 
16mm b/w short with a girl who talks to the camera 
and relates how she lures guys to her apartment and 
kills them with her knife. It’s from Ian Little of 
Richmond, VA. who goes to The Virginia 
Commonwealth Uni., site of a PSYCHOTRONIC film 
festival a few years ago. RETINA BURN (92). Put on 
this colorful one hour computer graphics tape (made 
by Frank Coleman in Boston) along with your choice 
of music (psychedelic would be best) to create a 
mindblowing home light show. Drugs are optional. 
$17.95 ppd. to Rayvonne Film works, 406 D. Bryant, 
Ojai, CA, 93023. SINGLE GUN THEORY (81). In 
this clever, very short film, thanks to public domain 
footage and (crude) editing, Curly Howard is shown 
to be the guy who assassinated JFK (!) $15 ppd. to 
CDE Pro., PO Box 41437, Baltimore, MD, 21203. Two 
disturbing nightmarish b/w 9” Nails videos that you 
won’t see on MTV are HAPPINESS IS SLAVERY 
by Jonathon Reiss (who used to do SRL films) and 
PINION by Eric Goode. The first features a 
mutilation machine and male nudity, the other has a 
bound person hooked up to a toilet. 

We also received a sample tape from last 
November’s Warren, Ohio Int. Video Festival, 
presented by C. M. “Mike” James at the Trumball Art 
Gallery. Some highlights are samples from the NYC 


feature SHADOWS IN THE CITY and an excellent 
short from Milwaukee called PAULETTE, involving a 
little kid and a drowning. One short is about the 
world of mail art, but (too) many are taped 
performance art pieces. A publicity clip from 
Cleveland’s Big Chuck And Little John Show was 
included. 



S ; 


HORRORS OF SPIDER ISLAND 59 (German dialogue) 
HORRIBLE DR. HICHCOCK62 (uncut) 

NIGHT EVELYN CAME OUT OF THE GRAVE 
FIVE DOLLS FOR AN AUGUST MOON 70 
WEREWOLF IN A GIRL’S DORMITORY 63 
LAST HOUSE ON DEAD END STREET 77 (w cut) 
CURSE OF THE DOLL PEOPLE 60 
SAMSON AND THE 7 MIRACLES 62 
EROTIC RITES OF FRANKENSTEIN 74 
BREAKFAST AT MANCHESTER MORGUE 74 
HOUSE OF THE BLACK DEATH 65 
PLEASE DON'T TOUCH ME 59 
LITTLE RED RIDING HOOD 58 
NIGHT OF THE BLOOD MONSTER 70 
LEMORA : LADY DRACULA 73 
VAMPIRE PEOPLE (BLOOD DRINKERS) 66 
MOONSHINE MOUNTAIN (ILG. Levis) 65 
THE FLESH EATERS 62 (uncut) 


DANTE’S INFERNO 24 
CUL-DE-SAC (Polanski) 
DERANGED 72 (Ed Gein) 
CANNIBAL HOLOCAUST 79 
BLACK SCORPION 57 
I DRINK YOUR BLOOD 71 
HORROR HOTEL 60 
LAUGH, CLOWN, LAUGH 28 
THE GOLEM 20 
DARK INTRUDER 65 
NEKROMANTDC II 
LOST WORLD 25 (mint) 

EVIL EYE 63 
CASTLE OF BLOOD 64 
BLACK SUNDAY 60 
THE DEERSLAYER 20 



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Interview By Ian Johnston 

John Vernon was horn Adolphus Raymondus 
Vernon Agopowicz (!) on Feb. 24, 1932 in Regina, 
Saskatchewan to a store keeper family of Armenian/ 
Polish/Austrian descent. While attending Campion 
college, he was a shy 14 year old boy with bad acne. A 
drama professor encouraged him to take up stage acting. 
“Once I got the greasepaint and a costume on, 1 felt part 
of the world and forgot my acne problem. It was sort of 
an escape.” After graduating, he worked in theatre 
groups in Regina and Vancouver. A scholarship from a 
service club allowed him to attend the Royal Academy 
of Performing Arts in England in 1952, where he stayed 
for two years. His classmates included Peter OToole, 
Alan Bates and Albert Finney. He stayed in England, 
worked on stage in London’s West End and did BBC 
radio productions. His agent persuaded him to change 


his name and he landed his first 
film job, as the voice of Big 
Brother in Michael Anderson’s 
1984, starring Edmond O’Brien. 
“1 left Regina and went right to 
RADA. And what a jump that 
was. It was fun. And while 1 was 
there, they asked me to audition 
for the part of Big Brother. And I 
did and 1 got it, and I became the 
voice. You can’t get a much 
bigger role to start with, even if 
it was only a voice over.” 

In 56, Vernon returned to 
Canada where during the next 
ten years, he did over 300 radio 
plays and appeared in 65 TV 
series roles. Some of the series 
were THE LAST OF THE 
MOHICANS (starring Lon 
Chaney Jr. and syndicated in 
America) and THE FOREST 
RANGERS. In a 1964 episode of 
THE FOREST RANGERS, 
recently rerun, he was a French 
trapper. “Oh my god (laughing). 
That’s an oldie. Oh god. It’s 
POINT BLANK hysterical to see yourself 35 to 40 
years ago. Wait till it happens to 
you. The hair and the weight is what gets me. God. But 
what the hell? It was only a pound a year I gained.” He 
was a semhregular on TUGBOAT ANNIE (also 
syndicated in the states) as “Big Sam.” Vernon first met 
guest star Nancy West (whom he married in 58) on the 
Toronto set. West brought two children to the 
marriage. They have three other children including 
actress Kate Vernon. 

Vernon also acted on stage and appeared in over 
70 Canadian Broadcast Company theatrical dramas. 
“Oh god. The CBC was really a wonderful field of 
anything you can imagine. Half hour dramas, hour 
dramas, 90 minutes, two hours. Ibsen, Chekhov, 
Strindberg, Shaw, Shakespeare, all the modems. It was 
really the largest dramatic center in the world, 
comparable to the BBC and even bigger than the 
PLAYHOUSE 90 type shows in the U.S.” By 64, 


John 

Vernon 

The Star From 
Saskatchewan 


PSYCHOTRONIC • 57 





Vernon had worked his way up to being fairly well 
known in Canadian acting circles. He appeared in the 
classic black and white Canadian National Film Board 
juvenile delinquent feature NOBODY WAVED 
GOODBYE, directed by Don Owen. He was a parking 
lot owner who encouraged teen Peter Kastner to short- 
change customers. Owen, who also starred in David 


Cronenberg’s CRIMES OF THE 
FUTURE (70), later made 
UNFINISHED BUSINESS 
(85), a sequel. Kastner came to 
America and starred in 
Coppola’s YOU’RE A BIG BOY 
NOW (67). 

Vernon appeared in 
“Royal Hunt Of The Sun” on 
Broadway with Christopher 
Plummer for six months in 65, 
then returned to Toronto to star 
in the pilot for WOJECK, which 
debuted on THE BOB HOPE 
THEATRE. Vernon starred as 
Steve Wojeck, crusading 
coroner. The concept was later 
ripped off for the American Jack 
Klugman series QUINCY, which ran for years on NBC. 
WOJECK was the first CBC filmed series, shot with a 
hand held camera on Toronto locations. Some of the 
series directors were Daryl Duke (THE SILENT 
PARTNER), Paul Almond (husband of Genevieve 
Bujold) and George McCowan (FROGS). The series 
was controversial. “Yes, It was absolutely a new thing. 


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PSYCHOTRONIC • 58 



Marvin and Vernon in POINT BLANK 


Hard-hitting and honest. But the CBC aired it, no 
problem. Sure we lost sponsors, so what? CBC didn’t 
care. The topics for the show were way ahead of their 
time, things like senior citizen homes, homosexuality, 
drunk driving, and all the issues that are pertinent 
today. WOJECK was way out there, but that’s one of 
the charming things about him. He was flawed in terms 
of gruffness, but his heart was there. He was a 
compilation of not only (Toronto coroner Morton) 
Shulman, but Ralph Nader. He had Shulman’s position 
and Nader’s personality at work.” 

WOJECK was a tremendous ratings hit, but only 
lasted 20 episodes. “Honestly, 1 think they just petered 
out. When you get into a series for TV, as you well 
know, you’ve got to have a battery of writers, of editors, 
and 1 guess maybe they were tired. After the first ten, 1 
was offered POINT BLANK, and 1 went to Hollywood. 
They did ten more WOJECKS in color and they pulled 
the plug. They came back to me later and offered me a 
couple more. And 1 said, ‘If you offer me a few more 
than one or two, I might stay, but meanwhile I have 
these offers in Hollywood.*” 

The makers of QUINCY were later sued. “It was 
in Los Angeles. I was there to say, ‘Long before 
QUINCY, we had done a coroner series in Canada.* 
Very strange. 1 guess a couple of people had submitted 
an idea for a coroner and thought that QUINCY had 


been stolen from them. 1 don’t think they were as 
successful as Art Buchwald, but I didn’t stick around to 
find out what happened.” Ed: I've only seen one episode, 
starring Michael Sarrazin, ruining his life with LSD use , but 
it was great! Looked like an underground film. QUINCY 
was a total copy . Forget Klugman/ Quincy . Vernon was the 
tough guy coroner! 

John Boorman’s great POINT BLANK (MGM) 
was ahead of its time too. Vernon co-stars as Mai Reese, 
the guy who shoots Walker (Lee Marvin), leaves him 
for dead and takes off with his wife (Angie Dickinson). 
“That was my first Hollywood film. It wasn’t accepted 
that quickly though, but now' it’s a classic. It’s 
considered th£ gangster film of the 60s. It’s wild.” 
Vernon had a sex scene with Angie Dickinson and Lee 
Marvin throws him out of his penthouse window! 
JUSTINE (20th Century) stars Anouk Aimee and Dirk 
Bogarde and was filmed in Tunisia. “Right after that, 1 
played this intellectual in JUSTINE with George 
Cukor. Marvelous experience. And then I did TOPAZ. 
So there 1 was, my first three films, directed by the likes 
of Boorman, Cukor and Hitchcock.” 

In the spy thriller TOPAZ, he played a thinly 
disguised Castro, seen visiting Harlem (which really 
happened) and murdering his girlfriend (Karin Dor). “1 
was lucky at the time to be seen in JUSTINE with a 
beard, and 1 guess they considered me an actor, so 1 got 


PSYCHOTRONIC • 59 



Castro-like in TOPAZ 


it. People say my part in TOPAZ is the more dramatic 
part and 1 agree. The first shot was a 360 degree 
tracking shot and when he (Vernon) shoots her, they 
had these little invisible wires pulling at her dress so 
that as she fell, it spread out under her like a flower 
opening. That was one of my most enjoyable times. 
Hitchcock was wonderful to work with. He wasn’t 
distant. Not really, it depended on his mood. Lots of 
fun. Lots of humor.” Several endings were filmed for 
the expensive ($4 million) 125 minute Universal 
feature. In America, it ends with the suicide of Michel 
Piccoli (an ending not shot hy Hitchcock, who wanted 
to use his duel in a stadium ending). A new “feel good” 
ending (also not by Hitchcock) was substituted for 
Europe. The laserdisc release has both alternate 
endings. 

TELL THEM WILLIE BOY IS HERE 
(Universal) starred Robert Redford, Robert Blake as an 
Indian and Katharine Ross. It was directed by Abraham 
Polonsky, who had been blacklisted for years. In 69, 
Vernon started appearing on American TV. He played 
several different villains (named Col. Strom, General 
Sabattini...), on MISSION IMPOSSIBLE. “They were 
fun too. 1 had to do a lot of strange foreign accents. But 
it wasn’t hard because they were fictional accents from 
fictional countries. No one could question them.” His 
first US TV movies were TRIAL RUN, about high 
price lawyers, and ESCAPE, a fantasy adventure pilot 
starring Christopher George as as a magician. 

Vernon was the mayor in Don Siegel’s original 
DIRTY HARRY (Warners). “He and 1 became friends, 
and we had a terrific time. He started out as an editor 
and he really knew how to make films. It’s sad that he’s 
gone now.” Siegel used Vernon again in CHARLY 


VARRICK (also with Andrew Robinson) and THE 
BLACK WINDMILL. 

Vernon was third-billed in Gene Roddenberry’s 
QUESTOR pilot movie about an android. 
BRANN1GAN (U.A.), directed by Douglas Hickox, 
was a surprising John Wayne detective movie, shot in 
England. Vernon, as a gangster, spends part of the 
movie naked in a box. “1 had a great time doing that. 
You get yourself in these situations, what are you going 
to do? I read a script for this film with Michael Douglas 
(BASIC INSTINCT). It was the most expensive script 
Hollywood ever paid for. $3 million. Quite a precedent. 

I was up for a part, so 1 read it. And the guy is in the 
sack for two-thirds of the film. That’s difficult to do, let 
me tell ya. But the plot was brilliant. He’s vulnerable in 
bed, and he could be murdered any time. But that’s 
above and beyond the call of duty for an actor.” 

Without a douht, the weirdest movie Vernon has 
been in is SWEET MOVIE, an indescribable, often 
banned feature by Yugoslavian madman Dusan 
Makavejev (WR: MYSTERIES OF THE 
ORGANISM... ). Set in the future (1984), it features 
little boys seduced and killed, puke, piss, shit, sex in 
sugar, death in chocolate, WW11 footage of corpses and 
much more. Canadian co-star Carole Laure walked off 
the set and later sued in Quebec and France to stop 
screenings. Vernon plays Texas billionaire Mr. Dollars. 
In one scene, his large golden penis is revealed. “Dusan 
is quite a brilliant filmmaker, but he’s so off the wall. 
And we had shot all my stuff in Montreal, and they 
went to Belgium and elsewhere. 1 certainly knew what 
was in the film, because he showed it to me. I had no 
idea what that insert was going to be. What he did, oh 
Jesus, it was so funny, Dusan called me and said (adopts 



THE BLACK WINDMILL 


6 o 


PSYCHO TRONIC • 


Dusan accent), ‘John, remember that scene where you 
wash your wife? (Laure)’, and I said, ‘Yes.\ And he said, 
‘Hitler had a fetish.’, and 1 said, ‘What are you talking 
about?*, ‘He liked to piss all over women’. ‘He did?’, 1 
said, What have you done!?’ “I’ve found you this great 
big Belgian, and when you get up from washing your 
woman and wave your hat, Yahoo, Yahoo!, I cut to the 
man pissing.’ And 1 said, ‘You rotten son of a bitch. So 
that’s the story.’ But a nicer guy, you won’t find, with a 
monkdike face and sweet. Great smile, but he had these 
wild, wild things.” Laure, recently a hit singer in 
Quebec) and Vernon were also in FANTAST1CA 
together. 

OUTLAW JOSEY WALES (Warners) was the 
second Clint Eastwood movie with Vernon. 
Screenwriter Philip Kaufman was the original director. 
“Clint fired Philip Kaufman after eight days. It seems 
kinda strange now, considering what Kaufman’s done. 


But it was difficult for Clint to do, but he just pulled the 
plug on him.” 

SPECIAL DAY was a very good WWII story set 
and filmed in Italy with Sophia Loren. She meets and 
befriends a homosexual man (Marcello Mastroianni) 
while her fascist husband (Vernon) takes the kids to see 
Hitler. “1 did that picture in Italian, and they dubbed 
me because my accent wasn’t good enough. The Italians 
are notorious for that.” THE UNCANNY was an 
anthology horror movie movie Peter Cushing, Ray 
Milland and Donald Pleasence. Vernon plays an Italian 
film director. 

Dean Vernon Wormer in ANIMAL HOUSE, is 
the one Vernon character everyone remembers. The 
role assured him more comic roles (and more teen 
movies). “It doesn’t haunt me. On the contrary, it’s 
instant notoriety, and yet another cult film. 1 seem to 
have a few classics I’ve done. ANIMAL HOUSE, a 


JOHN VERNON FILMOGRAPHY 

56 1984 (UK- voice) 

TUGBOAT ANNIE (Can. TV scries, aired 58) 

64 NOBODY WAVED GOODBYE (Can.) 

MORE JOY m HEAVEN {Can. TV mini, star) 

66 WOJECK (Cam TV series to 68, star) 

67 POINT BLANK (MGM) 

On Coronet Blue 

68 III On Tarzan Si 

69 JUSTINE (Fox) 

TOPAZ (MCA) 

TELL THEM WILLIE BOY 1$ HERE (MCA) 

TRIAL RUN (NBC) 

MISSION: IMPOSSIBLE (CBS series) guest star many 
times as various villains (to 72) 

70 ESCAPE (ABC pilot movie) 

On The Falcon 

7 1 DIRTY HARRY (Warner) 

ONE MORE TRAIN TO ROB 
HUNTER (CBS) 

FACE OFF (Can.) 

72 FEAR IS THE KEY (UK) 

JOURNEY (Can.) 

COOL MILLION (NBC pilot) 

73 CHARLY V ARRICK (MCA > 

W (Vestron) (UK) (I WANT HER DEAD) 

On Search, The Six Million Dollar Man 

74 THE BLACK WINDMILL (MCA) (UK) 

THE QUESTOR TAPES (NBC feature pilot) 

(CAT AND MOUSE) (ABC) MOUSEY 
THE VIRGINIA HILL STORY (NBC) 

MATT HELM (TV movie) 

On Kama Fu IP • 

75 BRA NIG AN (MGM) (UK) 

SWEET MOVIE <Can./Yug./Fr.) 

ANGELA (Cam) 

The Imposter (NBC feature pilot) 

Swiss Family Robinson, Barbaty Coast, Matt Helm {all f 
ABC pilots) 

On The Invisible Man 

76 THE OUTLAW JOSEY WALES (Warner) 

THE VIRGINIA HILL STORY (NBC) 

77 THE UNCANNY (UK/Can) 

GOLDEN RENDEZVOUS <VestiooXUK/S. Af.) 

A SPECIAL DAY (RCA) (fUCan.) 

MARY JANE HARPER CRIED LAST (CBS) 

78 NATIONAL LAMPOONS ANIMAL HOUSE 
(MCA) 

79 IT RAINED ALL NIGHT THE DA Y I LEFT 

(USAXCam/lsraeVFr) 

DELTA HOUSE (ABC series) 

CRUNCH (Cam) 

80 HERBIE GOES BANANAS (Disney) 

FANTASTICA <Can/Fr/> 


THE SACKFTTS (NBC) 

81 HEAVY METAL (Cam, voice) 

82 AIRPLANE II: THE SEQUEL (Par,) 

THE BLUE AND THE GREY (RCA) (CBS mini) 

On The Phoenix 

CHAINED HEAT (VestionXUS/Oer.) 

83 CURTAINS (Cam) 

HEARTBREAK HIGH (Platinum) (CampKINKY 
COACHES AND POM POM PUSSYCATS/CRUNCH 
LITTLE RED RIDING HOOD (Fox) (Faerie Tale 
Theatre) 

On The Greatest American Hero, The Powers Of 
Matthew Star 

84 SAVAGE STREETS (Vestron) 

; JUNGLE WARRIORS (Media)(Ger./Mex.) 

THE BLOOD OF OTHERS (Par,) (Can. TV mini) 
LOUISIANA (StarmaJcer} (France. TV mini) 

On Automam High Riders, Fall Guy, Partners In Crime 

85 FRATERNITY VACATION (Starmaker) 

DOIN’ TIME (Warner) 

HAIL TO THE CHIEF (ABC series) 

On Cagney And Lacy 

86 HAMMERED: THE BEST OESLEDGE (Starmaker) 
(from ABC series) 

On Knight Rider, Airwolf 

87 DOUBLE EXPOSURE (Vestron) (TERMINAL 
EXPOSURE) 

NIGHTSTICK (RCA) (Can.) 

ERNEST GOES TO CAMP (Touchstone) 

BLUE MONKEY (RCA) (Can.) (GREEN MONKEY) 
BORDER HEAT (Forum) 

On Alfred Hitchcock 

88 FM GONNA GIT YOU SUCKA (MGM) 

KILLER KLOWNS EROM OUTER SPACE 
(Media) 

DEADLY STRANGER 
DIXIE LANES (CclehrityXCam) 

BAIL OUT (Vestron ) 

TWO MEN (Can. TV) 

RATTALES (Can. TV) 

WAR OF THE WORLDS (Syndicated series pilot and 
two episodes) 

B-Men (TV pilot) 

89 MOB STORY (ShapiroXCan,) 

WAR BUS COMMANDO (TryJonX Italy) 

HOSTILE TAKEOVER (AvidyOFFICE 
PARTY/THE DEVASTATOR (Can.) 

90 On Father Dowling Mysteries 

91 THE NAKED TRUTH 

THE WOMAN WHO SINNED (TV) 

92 WOJECK: OUT OF THE RRE (Canada, CBC) 

On Ray Bradbury Theatre and Tales From The Crypt 

93 THE FIRE NEXT TIME (TV mini ) 

MATRIX (USA series, narration) 


PSYCHOTRONIC • 61 




Dean Warmer in ANIMAL HOUSE 

comedy, POINT BLANK, a gangster film, and the 
western JOSEY WALES, which was considered the 
best western for many years.” He repeated the role in 
the short lived ABC spin off series, DELTA HOUSE 
(with Peter Kastner and Michelle Pfeiffer). It didn’t 
help much that both CBS and NBC debuted their own 
ANIMAL HOUSE inspired shows at the same time. In 
AIRPLANE II, Vernon plays a doctor in a courtroom 
scene. When asked to give his impression of a patient, 
he says “Pm a doctor and don’t do impressions.” 

In the famous Linda Blair women-in-prison 
movie CHAINED HEAT, Vernon is the warden who 
spends his time videotaping naked inmates (like 
Monique Gabrielle) in his hot tub and says, ‘“Don’t call 
me warden, call me Fellini.” “That office pool. Was it 
uncomfortable. 7 Are you kidding 7 I’ve been asked, did I 
enjoy jumping into a hot tub with two naked women? 
And 1 said, it was terrible for all of us. All the body 
make-up and the water. It took two days to 
shoot. That’s a long bath. CHAINED HEAT, 
now that’s a cult film. Absolute nonsense, 
but. ..it was a great acting part. That shower 
scene with 25 naked girls swearing, it was 
ridiculous. But, I tell you, it has a huge 
following. I’m not proud of it, but I had a 
good time doing it.” CHAINED HEAT also 
featured Sybil Danning, Stella Stevens, Edy 
Williams - and Kate Vernon as a cellmate. 

The director of the German co-production 
was Paul Nicolas (Lutz Schaarwachter). 
SAVAGE STREETS was another one 
starring Linda Blair, this time with Vernon as 
a sleazy principal. “SAVAGE STREETS was 
just a commercial bit of nonsense that went 
through many changes. My part was just this 
tough, or whatever it was. 1 do stuff like that. 

You’re faced with this dilemma. If the part is 
good, but the film isn’t, it’s not a disgrace to 
do it. You never know, when you’re getting 

CHAINED HEAT 


into them, what’s going to happen.” Linnea 
Quigley played Blair’s sister in the exploitation 
hit. 

With all the film and TV work, John 
Vernon also finds time to do commercials and 
voiceovers. “That’s a strange game. I do the 
odd on camera thing. I did one in Halifax for 
the airlines here (Air Nova). 1 don’t seek it 
out. If it happens, it happens. Five or six years 
ago, I did this thing in Halifax (“Coast Of 
Indifference” - 84) for the tourist department, 
wonderful show. It was for the CBC, and it 
was a magnificent travelogue, but done in 
verse. I play this sea captain, doomed to ride 
the waves till he finds the Tall Ships, which 
were touring Canada then.” He’s done voices 
for cartoons (and the feature HEAVY 
METAL) and narrated a recent Canadian self- 
help TV special, “Recovering: Addiction,” 
about alcoholism. 

In CURTAINS, Vernon is a movie director who 
lures actresses to his remote home, where they’re killed 
off. With Samantha Eggar and Linda Thorson. 
“Jonathon Stryker” is the fake name of CURTAINS* 
director (Richard Ciupka) and Vernon’s character. 
JUNGLE WARRIORS was another German co- 
production with Sybil Danning. It was the movie that 
Dennis Hopper was fired from after wandering around 
naked and incoherent. He was replaced by Marjoe. Paul 
Smith suspends a gangster named Vito (Vernon) on a 
helicopter door before killing him. Alex Cord and 
Woody Strode were also in it. FRATERNITY 
VACATION had Tim Robbins in an early role, but is 
mostly remembered for nude scenes with Barbara 
Crampton and Kathleen Kinmont. Vernon is the police 
chief. DOIN’ TIME was a POLICE ACADEMY copy 
set in prison, with Vernon as “Big Mac.” BLUE 
MONKEY was a science fiction monster movie with 
Steve Railsback and Susan Anspach. 


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PSYCH0TR0N1C • 62 



With Jimmie Walker in DOIN’ TIME 


I’M GONNA GIT YOU SUCKA! is Keenan 
Ivory Wayans very funny takeoff of 70s black action 
movies, with Vernon as “Mr. Big.” “1 didn’t know where 
to go in a couple of scenes, which was strange. It was 
deliberately in the script, I should go out of character. It 
was a two or three day shoot. 1 had just got back from 
Canada and didn’t have time to get into the part, it was 
an odd experience. I think he, Ivory Wayans, is a very 
talented man. He’s very successful on TV. I wish he’d 
take his money and go back to making features. I guess 
you ride the horse you’re given and ride the hell out of 
it.” The all star cast also included Antonio Fargas. 
BAILOUT was the third Linda Blair movie for Vernon. 
MOB STORY, a comedy shot in Winnipeg, stars 
Vernon as a kindly New York mobster, hiding out in his 
old home town. The Canadian cast includes Margot 
Kidder, A1 Waxman and Kate Vernon, who in one 
scene, is strung up by the neck and forced to stand on a 
block off ice. In the strange OFFICE PARTY, David 
Warner is an accountant who goes crazy and takes his 
entire office hostage. Vernon is the mayor and Kate 
Vernon has a topless scene. 

In 1990 Vernon was making a movie with Traci 
Lords. “That was in Belize. We shot two weeks, and they 
lost their money. It never came to anything. Doesn’t 
happen often. It was just bad management. It was called 
OBJECT OF DESIRE. A strange script. It was a 
psychological thriller. It had Traci Lords, the 12 year old 
porn queen (laughs), who didn’t disrobe at all.” The 
WOJECK reunion movie was also shut down in 1990. 
“Yeah, there was a false start. They pulled the plug when 


they couldn’t resolve the problem of immigration (in the 
script). And rather than give the audience something 
mediocre, they said, that’s enough. And so, we used the 
premise of it this particular script.” The WOJECK movie 
featured Patricia Collins and Ted Follows, both from the 
original series and centered on a family of illegal refugees. 
There’s a tremendous audience over 40 who remembers 
WOJECK. If it does go to series, they should get right 
into the meat of it. Deal with issues. That’s the way it 
should go.” Since our interview, it looks like it will not 
be a new series after all. 

Daughter Kate Vernon recently co-starred in 
MALCOLM X. “1 did two (three actually) with her and 
it was wonderful, MOB STORY and another called 
OFFICE PARTY. She was terrific in that. And so was 
David Warner. She is flying now. In MALCOLM X, 
she plays the femme fatale, a compilation of all the 
white women Malcolm X knew. Now she’s starring in 
an Italian picture she’s been shooting for three 
months.” John Vernon continues to work. He’s in the 
recent NAKED TRUTH, by Niko Mastorakis, which 
has a cast including Shannon Tweed, M. Emmett 
Walsh, Herb Edelman, Yvonne DeCarlo, Norman Fell, 
Zsa Zsa Gabor, Erik Estrada, Lou Ferrigno and Billy 
Barty (!!). THE FIRE NEXT TIME is an all-star TV 
mini series about the environment, set in the near 
future. Vernon plays a Nova Scotian.” “I’ve got a few 
things in the fire that I can’t talk about because there’s 
nothing to speak of yet. You take what you’re offered. I 
do a lot of little things, here and there. The business is 
like a toilet seat. Up and down.” 


PSYCHOTRONIC • 63 



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Mart of tV Devil Tart II (72) Bamedui l«XcuunCnct 

Naked Warnon C83) Sara Bay A Pam Oner 

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PSYCHOTRONIC • 64 







These are just some of the (mostly 
movie related) fanzines (and 
magazines) we received recently 
from various places. Write to them 
for sample prices or subscription 
rates if we didn't list them. If your 
zine hasn't been listed in this 
column yet , maybe it's because you 
haven't sent us any recent issues. 
All zines are illustrated unless 
otherwise noted. 

ASIAN TRASH CINEMA (#3, 
$6) is back with another digest 
size issue (40 pgs with color 
cover). It covers Godzilla, John 
Woo’s HARD BOILED, an 
interview with actress Jade Leung 
and includes a guide to Yakuza 
movies. Craig Ledbetter, PO Box 
5367, Kingwood, TX 77325. 
BLACKEST HEART (#1, $5) 
This self-proclaimed “most 
disgusting magazine in the world” 
is an odd size (8” x 9 1/2”) and is 
56 pgs. of reviews, fiction and 
articles (John Woo, RABID 
GRANNIES, lesbian nuns...) by 
opinionated young horror fans 
who like to drink beer and try to 
be offensive. Timothy Patrick, 
Shawn Smith, 3817 San Pablo 
Dam Rd. Ste. 614, El Sobrante, 
CA 94803. BLUE SUEDE NEWS 
(#21, $3) is 38 pgs of rock, blues 
and rockabilly news and reviews 
featuring LaVern Baker and Mary 
Wells. Marc Bristol, Box 25, 
Duvall, WA 98019. BRAIN 
RADIO (#23) This one’s 6 one 
sided pgs. with reviews of comics, 
fanzines and videos, letters and a 
fast food column. Pierce Askegren, 
PO Box 1334, Sterling, VA 20167. 
CELEBRITY TATTOOS (#1, 
$4.95) shows the tattoos of Drew 
Barrymore, Melanie Griffith and 
other actors and rock celebrities 
and shows incredible tattoos of 


celebrities (Vincent Price, the 
mummy, the wolfman and Col. 
Sanders!) on people you never 
heard of. Also tattoos in movies 
(including the new BLOOD IN, 
BLOOD OUT), and a Clive Barker 
interview. Look for it on 
newsstands. 



CRYPTIC TIMES (#4, $4) One of 
Canada’s best music zines 
recently moved (from Kingston, 
Ontario). The latest (88 pg.) issue 
has many interviews and reviews 
and also covers the 70s 
HILARIOUS HOUSE OF 
FRIGHTENSTEIN show (with 
Vincent Price). Alan Wright, 1011 
Boren Ave. #114, Seattle, WA 
98104. DRACULINA (#15, $3.75) 
This zine (“for mature readers”) 
now has full color covers and is 50 
pgs. It’s really grown and 
improved from earlier issues and 
covers indy horror releases. 
Interviews are with Keli Maroney 


and directors Jack Hill and J. R. 
Bookwalter. Hugh Gallagher, PO 
Box 969, Centralina, II, 62801. 

DREADFUL PLEASURES (#5, 
$2) These 20 pgs. (with many rare 
ads) are devoted to reviewing and 
chronicling mostly (but not only) 
70s drive-in movies (like BLOOD 
AND LACE) and stars (Timothy 
Brown, Andrew Prine...) Michael 
Acomando, 650 Prospect Ave., 
Fairview, NJ 07022. DRIVE-IN 
THEATRE NEWSLETTER (#1, 
50c) is 8 xeroxed pgs. of vintage 
drive-in ads and some history. 
Nathan Miner 225 W. First St., 
Frostburg, Maryland 21532. 
EJECTO-POD (#3, 4, $4 each). 
Two 30 pg. issues of this Zontar 
offshoot zine were published at 
the same time (!) #3 features 
Larry Buchanan movies and 
bizarre foreign comics. #4 looks at 
THE TRIAL OF LEE HARVEY 
OSWALD, Pat Robertson and 
Rutger Hauer. As always, 
recommended, unique reading 
with altered illos. Jan Johnson, 29 
Darling St. #2. Boston, MA 02120. 

EXPLOITATION JOURNAL 

(#14, $3) is back with an issue 
featuring Barbara Steele (lotsa 
excellent photos), reviews and a 
pretty hilarious series of quotes 
from Christopher Lee, trying to 
explain why he appeared in 
various terrible movies. It’s 32 
xeroxed pgs. Keith Crocker, 40 S. 
Bush Dr., Valley Stream, NY 
11581. FORBIDDEN ZONE ($1, 
$3) is the long running zine Wet 
Paint reborn. The first 32 pg. 
digest issue features a good 
interview with actor Nicholas 
Worth, Godzilla’s little known 
appearances, the animated 
Batman, Jack Arnold, reviews and 


PSYCHOTRONIC • 65 


original art. Jeff Smith, 1817 
Oates Dr. #529, Mesquite, TO. 

GRINDHOUSE (#10), “Where 
The Blood Hits The Fan!" It’s 6 
xeroxed (and hand lettered) pgs. 
of reviews, including CENTER OF 
THE WEB, an all star A.I.P. video 
that actually played recently on 
42nd St. at the (rat infested) 
Harris Theatre. J. Adler. PO Box 
1370, NYC, 10156. HAPPYLAND 
(#5) reviews movies, tapes and 
music, and insists on keeping 
“feuds" with other New York area 
zines going. 34 xeroxed pgs. 
Editor Selwyn Harris has the best 
name in the history of zines, 
though. 439 First St., NYC 11215. 

HORROR SCIENCE FICTION 
BIBLE (#1) features 45 1974 
horror releases, “God In Genre 
Movies” and more, all on a bunch 
of xeroxed, all type, one sided pgs., 
complete with penned in 
corrections, visible white out and 
no price - in short, a real fanzine. 
Dan Somber, 4190 Bedford Ave. 
#40, Brooklyn, NY 11229. NERVE 
(#2, $2.95) The publisher (John 
Holmstrom) and editor (Legs 



McNeil) of this music and more 
magazine from NYC were the guys 
who created Punk magazine back 
in the 70s, so maybe you should 
buy a copy instead of Spin or 
Creem. This issue has the great 
Lemmy from Motorhead (also on 
the cover with a machete) and the 
Butthole Surfers, Living Color, 
Rick James and stuff about 


Manson’s son and Nazi youth 
gangs. Look for it on newsstands. 

SCHLOCK (#4, $1) Here’s 12 pgs. 
devoted to “lowbrow cinema" with 
video, ST and zine reviews, what 
happened to San Diego movie 
palaces and the local bar scene. 
John Chilson, 3841 4th Ave. . 
#192, San Diego, CA 92103. 
STICKY CARPET DIGEST 
(#16, $1, “if you can spare it"). 
Reviews of movies and music 
make up most of this 22 pg. zine. 
It also has an interview with the 
singer of the Irish/American Black 
47 group. Thomas Deja, 163 3rd 
Ave., #235, NYC 10003. 

THE VELVET LIGHT TRAP 

(#30, $11 ppd.) This issue of the 
scholarly, bi-annual cinema mag 
is an 82 pg. bound “Horror And 
Exploitation" special. Detailed 
articles cover BEYOND THE 
VALLEY OF THE DOLLS and 
THE HONEYMOON KILLERS. 
The history of early silent hygiene 
and VD movies is especially 
fascinating. Journals Dept, Univ. 
Of Texas Press, PO Box 7819, 
Austin, TX 78712. 



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VIDEOSCOPE (#2, $3.25) The 
Phantom Of The Movies, 
columnist for the NY Daily News, 
now has his own bi-monthly zine. 
This 20 pg. issue features many 
usually on target movie/video 
reviews (with ratings) plus some 
re-title and release date info. A 6 
ish sub is $14.97, to PhanMedia, 
PO Box 31, Keyport, NJ 07735. 
WONDER (#6, $2.95) “The 
children’s magazine for grown- 
ups” is 54 pgs. including a multi- 
feature Frank Capra section, Ava 
Maria Grotto in Alabama, games 
and Christmas movies. Lint 
Hatcher, 2221 Cavanaugh Ave., 
Atlanta, GA 30316. 

WORLD OF FANDOM (Vol. 2, 
#17, $3.50) “The Important 
Magazine.” This is a special 
vampire issue and as usual, there 
are previews, interviews and 
reviews of recent movies, rock 
bands and more. It’s 94 pgs. A1 
Shevy, 2525c W. Knollwood St., 
Tampa, FI 33614. XENORAMA 
(#3, 1.75), “the journal of Heroes 
and Monsters”) is a 20 pg. digest. 
This one features Inframan, 
Godzilla and Space Ghost. David 
McRobie, 428 Claydelle Ave., El 
Cajon, CA 92020. 

FOREIGN: 

CHAPLIN (#241) Chaplin is 
published by the world famous 
Swedish Film Institute (which 
sponsored my PSYCHOTRONIC 
Film Festival series in 87). The 
latest issue I have covers recent 
Kafka movies, actress Ingrid 
Thulin, director Hal Hartley 
(TRUST, THE UNBELIEVABLE 
TRUTH), THE PLAYER and 
much more. (In Swedish). 
Filmhuset, Borgvagen 1-5, 
Stockholm, Sweden. CHILDREN 
OF A FAR GREATER GOD (#2, 
“3 pounds for 2”) This 32 pg. 
digest zine is incredibly, devoted 
entirely to the MARRIED WITH 
CHILDREN series (on for 6 years 
now), complete with episode guide 
and Filmographies and news about 
Christina Applegate and other 
cast members. Miles Wood, 221 
Ashmore Rd. 2nd FI., Queens Pk., 
London W9 3DB, England. CINE- 
ZINE-ZONE (#69, $8) From the 
HORRORS OF THE BLACK 
MUSEUM cover story to the 
history of Santo article, this 64 pg. 
zine looks a lot like the 70s foreign 


zines that I used to buy, full of 
great, nicely reproduced rare ads. 
I’d like to see more of these. In 
French. Pierre Charles, Ave. 
Emile Zola, 94100 St. Maur, 
France. 

FATAL VISIONS (#13, $6) The 
bi-monthly Fatal Visions has been 
one of my fave all around zines for 
a while. This ish (40 pgs.) features 
Tsui Hark, behind the scenes of 
BRAIN DEAD (the editor was an 
extra), brief interviews with 



FILM 

VIDEO 


UNDERGRAVENDE KUNST 

Hypatia Lee and Danny Bonaduce 
and lots of reviews (including 
recent Chinese titles). Michael 
Helms, PO Box 133, Northcote, 
VIC, Australia, 3070. IN THE 
FLESH (#11, 4 for $30, “US cash 
only”) “The magazine with guts” 
features “Video Nasty” and book 
reviews, censorship in Sweden 
and around the world, more 
reviews, a Peter Jackson 
interview and Jeffrey Dahmer. It’s 
48 pgs. with a color BRAIN DEAD 
cover and pullout color poster for 
THE BEYOND. Steve C, Box 1, 
Garageland Focus, Princess 
Victoria St., Clifton, Bristol, UK, 
BS8 4BP. LOST MINDS (#3) If 
you like Paul Revere and the 
Raiders, The Flamin Groovies and 
strippers and would like to learn 
about cool sounding French 
Canadian 60s garage rock bands, 
you should check this out. It even 
has a few video reviews. Issues 
only come out once in a long 
while, but #4 is promised in 93. 52 
pgs., in English. Phil Liberbaum, 
1300 Ave. des Pins O. #1, 


Montreal, Quebec, Canada H3G 
IA8. MIDNIGHT IN HELL (#9, 
$5) The special vampire issue 
features Fiction, fan art, reviews 
and a feature on director Jean 
Rollin. George N. Houson, The 
Cottage, Smithy Brae, Kilmacoln, 
Renfrewshire PA 13 4EN, 
Scotland. 

RAGE (#1?) specializes in current 
underground cinema (Kern, 
Zedd...) but also has articles on 
Hennenlotter, Waters, Kuchar, 
Barker and biker movies. In 
Norwegian, but with many choice 
photos. Thomas Eikrem, Postboks 
2514, N-7001 Trondheim, Norway. 
STATE (#3) Articles about and 
reviews of interesting new 
theatrical releases (RESERVOIR 
DOGS, DRACULA, COOL 
WORLD...) and video reviews 
make up most of “The Magazine of 
the Motion Picture,” published by 
the backers of the “Black Sunday” 
film festival. Also with news about 
the widescreen (!) and uncensored 
video release of ZOMBIE FLESH 
EATERS. 42 pgs. (several in 
color). 51 Thatch Leach Lane, 
Whitefield, Manchester, UK, 
M245 6EN. 

STRAIGHT JACKET (#6, “free”) 
This issue of “Melbourne’s Most 
Amazing Video Guide” is all Jayne 
MansField and is 8 one-sided pgs. 
The previous # was on H. G. 
Lewis. John Harrison, 2 Glenbrae 
Crt., Berwick, Victoria, Australia 
3806. SUBTERRENE (#10, $5) 
Video reviews, an Oriental video 
section, festival reports and an 
interview with the maker of BAD 
KARMA are in this 30 pg., spiral 
bound zine. Anthony Cawood, 6 
Daleside Ave., Pudsey, Leeds, UK 
LS28 8HD. VIDEO PLUS (#2-93) 
“Die Nr. 1 Video Programme.” 
What can I say about a full color 
100 + pg. newsstand monthly that 
has Chuck Norris on the cover, 
nude photos of a Brazilian model, 
a suitable-for-framing WAYNE’S 
WORLD center photo, lots of 
exploitation movie/tape pics and 
info - AND -a 4 pg. heavily 
illustrated article about the 
PSYCHOTRONIC store and 
magazine called “Das Torzur 
Holle”? Well, they do offer back 
issues. I iohmarkt, Milchstrasse 1, 
2000 Hamburg 113, Germany. 


• 6 7 


PSYCHOTRONIC 



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ROY ACUFF (89) from 
Maynardville, TN. first recorded 
“Wabash Cannonball” in 1936 
and “Great Speckled Bird” in 37. 
He was a Grand Old Opry star 
called “King Of The Hillbillies” 
during WWII and was in 6 
features. In 42, he formed Acuff- 
Rose, Nashville’s leading song 
publishing company and ran for 
Governor of TN. several times in 
the 40s. He was also a HEE HAW 
regular (80-85). 


ANDRE THE GIANT 

(Roussimoff) (46) was bom with 
acromegaly (like Rondo Hatton) 
in France (were he wrestled as 
“The Butcher”). He lived in and 
wrestled in Montreal during 70s 
(as Le Geant Jean Ferrer), then 
joined the World Wrestling 
Federation. He co-starred in PRINCESS BRIDE (87). The 7’4” Andre 
had a 200 acre ranch in Ellerbe, NY. 


DANA (Carver Daniel) ANDREWS (83), from Collins, Miss, was in 
features sincel940 at Fox. He was perfect at playing depressed film noir 
characters. LAURA (44), FALLEN ANGEL (46) and WHERE THE 
SIDEWALK ENDS (50) were all by Otto Preminger. He starred in Fritz 
Lang’s WHILE THE CITY SLEEPS and BEYOND A REASONABLE 
DOUBT (both 56) and the late 40s anti- 
communist features THE IRON CURTAIN 
and THE RED DANUBE. Some other titles 
were EDGE OF DOOM (50), the classic 
CURSE OF THE DEMON (56), ZERO HOUR! 

(57), THE FEARMAKERS (58), THE LOVED 
ONE, BRAINSTORM, CRACK IN THE 
WORLD, SPY IN YOUR EYE and THE SATAN 
BUG (all 65), THE FROZEN DEAD (66), HOT 
RODS TO HELL (67), many Italian 60s 
features, AIRPORT ’75 (74), TAKE A HARD 
RIDE (75) and GOOD GUYS WEAR BLACK 
(78). He was also on TWILIGHT ZONE and 
NIGHT GALLERY. His younger brother is 
actor Steve Forrest. Andrews was an AA 
member. 


WAYNE BENNETT (58) was the guitarist 
for hits by Bobby "Blue" Bland (“Stormy 
Monday,” Turn On Your Love Light.’’) 


RONNI BOND (Ronald Bullis) (51) the 


Troggs drummer (from 
Andover) was also the founder of 
the group, whose first album 
and hit ("Wild Thing”) were 
released in 66. They had 9 hits 
in the UK and 3 in America. 
Bond and singer Reg Presley 
continued recording on and off 
over the years and recently did a 
Rhino release album with 
members of REM. 


DICK BROWN (68) produced 
the bizarre CLUTCH CARGO 
(59), TV’s first half hour 
animated series (and the first in 
color). 


TOY CALDWELL (45) was the 
lead guitarist for The Marshall 
Tucker Band (originally The Toy 
Factory) from South Carolina. 


EDDIE CONSTANTINE (75) was born in L.A. to Russian 
immigrant parents. Originally a singer, his career was helped in 
Paris by Edith Piaf. Starting in 53, he became a movie star, acting in 
either England, France (where he became a citizen) or Italy. He was 
usually cast as an American tough guy detective like Lemmy 
Caution, Nick Carter or simply “Eddie” and his pock marked face 
became famous throughout Europe. Some other titles were ROOM 43 
(58) with Diana Dors, Franco’s ATTACK OF 
THE ROBOTS, (62), Goddard’s 
ALPHAVILLE (65), a rare American 
appearance in IT LIVES AGAIN (77) and 
THE LONG GOOD FRIDAY (79). His career 
was revived in Germany after being in films 
by Fassbinder and Uli Lommel. 


RITA CORDAY (Jeanne Paule 
Teipotemarga) (68) was born in Tahiti and 
became an RKO starlet, (billed as both Rita 
and Paula), appearing in HITLER’S 
CHILDREN (42), THE BODY SNATCHER 
(45), DICK TRACY VS. CUEBALL (46) and 
many films in the Falcon series. At 
Universal she was called Rita Croset and 
was in THE BLACK CASTLE (52). She 
retired after marrying producer Harold 
Nebenzal and was not related to actress 
Mara Corday. 


PAM DOHLER (45) The wife of director 
andre the giant Don Dohler, acted in his Baltimore films 


PSYCHOTRON1C • 69 



(FIEND, NIGHTBEAST, GALAXY 
INVADER...) and worked with 
his publishing business 
(Cinemagic, Amazing 

Cinema...) 

RANDALL DIJELL (89) was 
art director for 65 MGM 
features, including 

BLACKBOARD JUNGLE. He also 
designed theme parks like 
Magic Mountain and Six Flags 
Over Texas. 

HARRY ELLERBE (91), a 
Broadway actor, was in 
features including MAGNETIC 
MONSTER (53), HOUSE OF 
USHER (60) and THE 
HAUNTED PALACE (63). 

EDWARD FISHER (67) was 
a popular 60s morning DJ on 
Cleveland’s WJW AM station 
and was the local Bozo The 
Clown on W|W TV. 

CONSTANCE FORD (69), a 
25 year regular on ANOTHER 
WORLD, was in THE CABINET 
OF DR. CALIGARI (62), 99 & 
44/100% DEAD (74) and 
episodes of THRILLER, 
TWILIGHT ZONE, ALFRED 
HITCHCOCK and others. 


JUNE JOYCE LEWIS 
FRASER (75) was a model for 

Vargas who was a stripper until the age of 43. She acted in MIRACLE 
ON 34th STREET (47) and THE LAST MILE (59). 

TERRY FROST (86) was in over 130 features including THE 
MONSTER MAKER (44) and THE NIGHT THE WORLD EXPLODED 
(57). He was in many serials (CAPTAIN AMERICA, SUPERMAN...) 
and Gene Autry movies and was a regular on HIGHWAY PATROL. 

VINCENT GARDENIA (Scognamiglio) (71) was born in Naples 
and raised in NYC. He acted on stage and TV and in films since 58. 
Some were MAD DOG COLL and MURDER INC. (both 60), WHERE’S 
POPPA? (70), DEATH WISH (74), HEAVEN CAN WAIT (78), HOME 
MOVIES (79), DEATH WISH II (82) and LITTLE SHOP OF HORRORS 
(86), as Gravis Mushnik. 

RON GARDNER (45) was the sax player and sang for the legendary 
Northwest rock group, The Wailers in the mid 60s when they recorded 
for Etiquette (“Out Of Our Tree”) and UA Gardner died in a fire in 
Tacoma. - Thanks to Joe Schafbuch (Portland, Oregon). 

LILLIAN GISH (de Guiche) (99), from Springfield, Ohio was on 
stage at the age of 5. She starred in BIRTH OF A NATION (14) and 
was in dozens of other D. W. Griffith features. Some later roles were 
in DUEL IN THE SUN (46), PORTRAIT OF JENNIE (48) and NIGHT 
OF THE HUNTER (55). She co-starred in ARSENIC AND OLD IACE 
(69, TV) with Helen Hayes (who died a month later than she did in 


Eddie Constantine 


March), and was also on 
ALFRED HITCHCOCK. Her 
younger sister Dorothy died 
in 68. 

MICHAEL GOTHARD (53) 
was in UP THE JUNCTION (68), 
SCREAM AND SCREAM AGAIN 
(he jumps into a vat of acid), 
Ken Russell’s THE DEVILS (as 
Father Barre, one of his best 
performances) and WHO SLEW 
AUNTIE ROO? (both (71), THE 
LAST VALLEY (72), WARLORDS 
OF ATLANTIS (78), FOR YOUR 
EYES ONLY (81) and 
LIFEFORCE (85). The British 
actor was found hanged in his 
London home in January. 

BILL GRUNDY ( 69 ) was the 
British TV host who made 
headlines when the Sex Pistols 
were on his show in 76. 

NICKY HAMMERHEAD 

(32) (J°hn Scott Pallotta) 
played drums for Julian Lennon 
and Bo Diddley. 

HELEN HAYES (92), on stage 
since the age of 5, was in the 
anti-Communist MY SON JOHN 
(51) and ARSENIC AND OLD 
LACE (69, TV). Hayes received 
an Oscar (one of her many 
acting awards) for AIRPORT 
(69) and was in HERBIE RIDES AGAIN (73), ONE OF OUR 
DINOSAURS IS MISSING (75) and CANDELSHOE (77) for Disney. She 
was on THE SNOOP SISTERS series (73/4) and was Miss Marple on TV 
movies. Her stepson is actor James MacArthur from HAWAII 5-0. 

TED HAWORTH (76), from Cleveland, was art director for 
Hitchcock’s I CONFESS (53) and INVASION OF THE BODY 
SNATCHERS (56). 

EDDIE HAZEL (42), from Brooklyn, was the extraordinary 
guitarist for George Clinton’s Parliament, then Funkadelic. He was 
on the Parliament “Osmium” Lp and all the great early Funkadelic 
albums up to “Standing On The Verge” (74), when he left to work at 
Motown. He also wrote song£ using the name G. Cook. The incredible 
“Maggot Brain” is his most famous track. 

AUDREY HEPBURN (Edda van Heemstra Hepburn- Rustan) ( 63 ), 
from Brussels, was in GREEN MANSIONS (59 - as Rima), directed by 
her then husband Mel Ferrer, WAIT UNTIL DARK (67) and 
Spielberg’s ALWAYS (89). 

PERCY HERBERT (72) was a British character actor who appeared 
in CURSE OF THE DEMON (56), ENEMY FROM SPACE (57), 
MYSTERIOUS ISLAND (60), BUNNY LAKE IS MISSING (65), ONE 
MILLION YEARS B. C. (66), THE VIKING QUEEN (67), DOOMWATCH 
(72), Russ Meyer’s BLACKSNAKE (73) and many other titles, many 
from Hammer. 


PSYCHOTRON1C • 70 


Sterling Holloway 

DOUGLAS HEYES (73) usually worked as a TV director (including 
many TWILIGHT ZONE and three THRILLER episodes) He also 
directed KITTEN WITH A WHIP (64) starring Ann-Margaret and 
wrote ICE STATION ZEBRA (68) and THE GROUNDSTAR 
CONSPIRACY (72). 

JACQUELINE HILL (63) was a regular on DR. WHO from 63 to 66. 

STERLING HOLLOWAY (87) was first in films in 1927. He danced 
in INTERNATIONAL HOUSE and was a frog in ALICE IN 
WONDERLAND (both 33). He was in the exploitation classic 
TOMORROWS CHILDREN (34), PROFESSOR BEWARE (38), THE 
BLUE BIRD (40), SHAKE, RATTLE AND ROCK (56) and the BATMAN 
movie (66). He was Waldo on THE LIFE OF RILEY series (53-58) and 
was Prof. Quinn several times on the SUPERMAN show. Holloway's 
distinctive soft voice was used for many cartoon characters for Disney 
(the stork in DUMBO, Winnie The Pooh .) and others. 

ISH1RO HONDA (81) joined the Toho Studios in 1933 and first 
directed in 51. The man who directed and co-wrote the original 
GODZILLA (54) "made 45 films.” He was a Japanese soldier for eight 
years who was a POW at the end of WW1I. Honda later directed 7 
other Godzilla movies plus HALF HUMAN (55), THE MYSTF.RIANS 
and RODAN (both 57), VARAN and THE H-MAN (both 58), BATTLE 
IN OUTER SPACE and THE HUMAN VAPOR (both 60), MOTHRA 
(61), GORATH (62), ATRAGON and ATTACK OF THE MUSHROOM 
PEOPLE (both 63), FRANKENSTEIN CONQUERS THE WORLD and 
DAGORA (both 64), KING KONG ESCAPES and WAR OF THE 
GARGANTUAS (both 67), LATITUDE ZERO (69) and YOG (70). He 
also made some non-sci-fi titles and was the 2nd unit director for 
several Kurosawa movies, including RAN (85). 

ABEN KANDEL (96) was a playwright and novelist who wrote 
screenplays for Herman Cohen productions. He worked on I WAS A 
TEENAGE WEREWOLF (and FRANKENSTEIN), BLOOD OF DRACULA 


and others. He wrote KONGA (6l), THE BIACK ZOO (63), BERSERK 
(67) and TROG (70), all which featured Michael Gough. The last 
two were the last features to star Joan Crawford. 

BILL KEARNS (69) was an American in many French features 
including Orson Welles' THE TRIAL. 

RUBY KEELER (83), from Halifax, Nova Scotia, is remembered for 
Busby Berkeley musicals from the 30s. She returned to films in THE 
PHYNX (70), a forgotten, barely released all star comedy about a 
rock band. 

AI-BERT KING (Nelson) (69), from Indianola, Miss., played drums 
for Jimmy Reed before making his first recordings as a blues guitarist 
(using a left handed Gibson flying V) and singer in 1953 He recorded 
for King and other labels but his best known songs ("Bom Under A 
Bad Sign,” "Oh Pretty Woman."...) and albums were on the Stax 
label in the 60s, backed by Booker T and the MGs. The 6’4" blues 
master continued to record until 84 and toured until the end. 

HARVEY KURTZMAN (68) created, edited and wrote for Mad 
comics (then magazine) from 1952 till 56. He worked for various 
comic books since 1943 and started out at E.C. editing “Two Fisted 
Tales" and “Frontline Combat." After leaving Mad, he edited Trump 
(backed by Hugh Hefner), Help (with Terry Gilliam on the staff) and 
Humbug. His "Little Annie Fannie" comics ran in Playboy since 62. 
He had Parkinson’s disease. Note: Mad publisher William Gaines 
died just last year. 

BOBBY LaKIND (47) was percussionist for the Doobie Brothers. 

BRANDON LEE (27). The son of the late Bruce Lee (who died 
mysteriously in ’73) was shot and killed (officially ruled an 
accident) during the filming of the movie CROW in North Carolina. 
The gun was supposed to fire blanks. Lee was also in KUNG FU: THE 
MOVIE and LEGACY OF RAGE (both 86), LASER MISSION (89), 
SHOWDOWN IN LITTLE TOKYO (9D and RAPID FIRE (92). 


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PSYCHOTRONIC 



JOSEPH L. MANKIEWICZ (83), from Wilkes-Barre, PA. began 
writing titles for films in 1928. He later became a major 
producer/director/writer and received many Oscar nominations. 
Some of his many features were DRAGONWYCK (46), THE GHOST 
AND MRS. MUIR (47), NO WAY OUT (50), CLEOPATRA (63) and 
SLEUTH (72). His brother Herman wrote CITIZEN KANE. 

RUDOLPH NUREYEV (54), from Transsiberia, starred in Ken 
Russell’s VALENTINO (77) and James Toback’s EXPOSED (82). 


BRANDON LEE IN RAPID EIRE 

GENE O'DONNELL (81), a radio announcer, also was in features 
like THE APE and THE DEVIL BAT (both 40) and Hitchcock's 
SABOTEUR (42). 

CHISHU RYO (88) was known for appearing in the long running 
Japanese Tora-San series and in films by Ozu. He was recently 
in Kurosawa’s DREAMS and UNTIL THE END OF THE WORLD by 
Wim Wenders. 

RICHARD SALE (80) wrote the screenplays STRANGE CARGO 
(40), the assassination movie SUDDENLY (54) and many others. He 
also was a novelist and director. 

ROBERT SHAYNE (Robert Shaen Daw) (92), from Yonkers, acted 
on Broadway, TV and in (nearly 100) features for 60 years. He’s best 
remembered though as Inspector Henderson on the SUPERMAN 
show (53-57). He was in FACE OF MARBLE (46), starred as THE 
NEANDERTHAL MAN (52) and was also in INVADERS FROM MARS 
and TOBOR THE GREAT (both 54), THE INDESTRUCTIBLE MAN 
(56), KRONOS, WAR OF THE SATELLITES and THE GIANT CLAW 
(all 57), HOW TO MAKE A MONSTER and TEENAGE CAVEMAN (both 
58) and SON OF FLUBBER (62). One of his last recurring roles was 
on THE FLASH series (90). 


ROBERT F. SIMON (83), from Mansfield, Ohio, was a Broadway 
actor who was in COMPULSION and FACE OF FIRE (both 59), 
WIZARD OF BAGHDAD (60) and THE RELUCTANT ASTRONAUT 
(67). He made many TV appearances and was a regular on 
BEWITCHED, MASH, and SPIDERMAN. 

ALEX TAYLOR (47) the older singer brother of James Taylor, died 
from a heart attack. 

LLOYD TURNER (68) Was a Warner Brothers animator in 44, 


helped create the CRUSADER RABBIT show with Jay Ward in 49, 
wrote and directed the TIME FOR BEANY show, then worked on 
ROCKY AND BULLWINKLE. 

JUNE VALLI (64), a star of the 50s Lucky Strike HIT PARADE show, 
recorded early versions of "Unchained Melody" and “Crying In The 
Chapel" and was the voice of Chiquita banana commercials. 

DIANE VARSI (54) from San Francisco, was raised in convents. 
After an Oscar nomination for PEYTON PLACE and co-starring in 
several other major 20th Century releases (including COMPULSION) 
she walked out of her contract. Varsi returned in the controversial IT 
WON’T RUB OFF BABY (67), then at A.I.P. was in WILD IN THE 
STREETS (as Sally LeRoy) and KILLERS THREE (both 68) and 
Corman's great BLOODY MAMA (70). Her last roles were in JOHNNY 
GOT HIS GUN (71), THE PEOPLE (72) and I NEVER PROMISED 
YOU A ROSE GARDEN (78). 

HANK WORDEN (91) was in 116 features (often westerns), 
starting in 1936. He w as in many John Wayne movies, THE SECRET 
LIFE OF WALTER MITTY (47), ONE-EYED JACKS (6l) and had a 
recurring role on TWIN PEAKS. 

And BILLY ECKSTINE (78), DIZZY GILLESPIE (75) and 
MARK GOODSON (77). 



PSYCHOTRONIC • 72 






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Bust measures a spectacular 12" H 
by 7" W by 7 " D and is cast in new 
Cockulite 47B dyna-resin. Ready for 
proud display in your home or your 
own custom paint job. 


How to Order: 

Make a check or money order payable 
to Tom Rainone in the amount of 
$139.00 for a single bust or $260.00 for 
two in a special "BookencT offer. All 
castings individually marked for 
authenticity. Also available is a special 
edition signed and numbered by the 
artist. It is strictly limited to 10 castings 
and is priced at $200. 

Send to: 

Uncle Tom's Happy Models 
859 North Hollywood Way Ste #114 
Burbank, California 91505 

Price includes tax, shipping & 
handling. Remember each bust will be 
cast to order, so please allow 3-4 
weeks for delivery. Priority service will 
be given to money orders. For shipping 
outside the U.S., please add $6 for 
postage and handling. 


©1993 Tom Rainone. All rights reserved. 


es, Ed Gein, America's most 
bizarre killer whose crazed, 
ecrophilic acts have solely 
inspired such legendary cinematic 
achievements as Psycho, The Texas Chainsaw 
Massacre, Deranged, and Silence of the Lambs 
can now be a welcome guest to inspire you in the privacy of your 
own home! This incredible, special-edition half-scale(\) bust was 
sculpted with meticulous perfection from dozens of courtroom 
reference photos. After much debate, Uncle Tom selected master 
Hollywood sculptor Glenn Hanz to give Mr. Gein life. Hanz's 
motion picture accolades include prominent work in Coppola's 
Dracula— 1992 Academy Award winner for best makeup. Below 
are some responses from just some of the notable musicians, 
filmmakers, and journalists who have seen this bust (as pictured 
above) in private exhibition: 

“All the kiddies should have one.” 

Johnny Ramone, Lead Guitar, RAMONES 

“Unfuckingbelievable!” 

Mike Scaccia, Guitarist, MINISTRY 

“Eddie at his most lovable... a kit even his Mother would love!” 
Tom Savini, Cinema Goremaster 

“A beautiful piece... you could eat off of it!" 

Brian Yuzna, Producer/Director Re-Animator, Bride of Re-Animator 

“Only Tom Rainone would have the guts to hawk such 
ghoulish garbage... I salute him!” 

Dave Friedman, Producer Blood Feast 2000 Maniacs, lisa: She-Wolf of the S.S. 

“At last, a model kit I'd buy!” 

Ed Neal, "The Hitchhiker" of The Texas Chainsaw Massacre 

“The sickest model of the year... truly demented!” 

Anthony Timpone, Editor, Fangoria/Gorezone Magazine 

“My favorite model since the Tor Johnson kit!” 

Michael Weldon, Editor, Psychotronic Video Magazine 

“Astonishing... if you don't buy this, you might as well kill yourself!" 

Eric caidin, Owner, Hollywood Book & Poster 

‘The feel-bad model of the year...a must!” 

Johnny Legend, Rockabilly/Horror Star